| NPTFJ1 ff | NRT1 ff | NTBOA1 ff | NTTIP1 ff | PMLAJ1 ff |
| NPTMR1 ff | NRTAS1 ff | NTCH1 ff | NTTLG1 | PMTIP1 ff |
| NPTSOC1 ff | NTADAND1 ff | NTHKRS1 ff | PMER1 ff | PMTLMV1 ff |
| Main Codes Index ^ |
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First line: Come come away follow follow your prince
Source Edition: The Fatal Jealousie (1672), 2.1, pp.26-8.
First performed: 3 August 1672
UMI(2) reel no.: 470:18 (1673)
Author: Nevil Payne
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Enter first Gipsie, and sings.
1. Gipsie. Come, come,
away; follow, follow your Prince,
I am King of the swarthy
Complexions;
Follow me that can lead you through Chimneys
and Chinks
To steal Bacon and Pease,
Nay,
sometimes with ease
To a Feast of the choycest Confections.
Come, follow me then, come away, come away.
Enter second Gipsie, and sings.
2. Gip. We know no Rebellion,
but obey, but obey,
To our King we are just,
And true to our trust,
Leaving discord to those, that
their Princes oppose,
When by the Spirit of Treason in
Non-sence they pray.
Enter all the rest, and sing.
Chor. We know, &c.
1. Gip. Come then,
and follow, a prize, a prize, a prize.
2. Gip. Give the
word then, and holloa.
All. A prize, a prize,
a prize.
1. Gip. Here are Gallants and Ladies have Fortunes
to tell.
2. Gip. We'l tell e'm good Fortune if
they give us a spell.
1. Gip. A hand crost with silver
the Spirit infuses.
2. Gip. There's no Prophet lately
that mettle refuses.
1. Gip. Men get Heaven now by Bargain
and Sale.
Chor. Masses, Trentals, and Dirges
Are not had for no Charges,
And a Vicar for nothing won't
tell you a Tale.
All. Masses, &c.
1. Gip. All things are bought and sold.
2. Gip. Good
Fortune goes with Gold.
1. Gip. Fall on to your Trading
then.
Men Gip. W'are for the Ladies.
Wom. Gip. And we for the Men.
1. Gip. To Cael.
<speaks> Lady, you have lost a Lover,
Cross
my hand, I'le more discover.
2. Gip. To Anto. My
Lord, I know you baseness scorn,
And would be loath to
wear a Horn.
1. Gip. To Eug. Lady, some do speak you
fair,
That hatred to your welfare bear.
2.
Gip. To Ger. My Lord, you Love a handsom Lady,
She Loves
you as well it may be.
1. Gip. sings. Thus we
seldom miss the matter,
Things past we can tell, by these
Generals well,
And ne're stay to prove the truth
of the latter.
All. Things past, &c.
1. To Cael. <speaks> You shall Live long and
happily, Lady.
2. To Anto. My Lord, I can tell you, good
Fortunes your Friend.
1. To Eug. You shall e're long
play with your own Baby.
2. To Ger. Your Love, my Lord,
will have good end.
1. Gip. sings. Thus we Live
merrily, merrily, merrily,
And thus to our Dancing we
sing;
Our Lands and our Livings
Lye in others
believings,
When to all Men we tell the same thing:
And thus to our Dancing we sing.
Thus we, &c.
[An Antique of Gipsies, and Exeunt.
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First line: Some happy soul come down and tell
Source Edition: The Fatal Jealousie (1672), 3.1, p.33.
First performed: 3 August 1672
UMI(2) reel no.: 470:18 (1673)
Author: Nevil Payne
Composer: Robert Smith ( nwc)
Source/s of Music: Recorded in Day and Murrie, p.335, n.3025 [Music] Playford, John, Choice Songs and Ayres...First Book (1673), p.18 (UMI(2) 221:12) et alia.
Text of song:
Song.
1.
Some Happy Soul come down and tell
What Joys
are those with you do dwell?
If it be Happiness like
ours below,
Which from our want of ills does only flow,
Then 'tis plain that mighty theam
Of Immortality
is but a Dream.
2.
'Tis
Love, 'tis Love, for nothing can
Give real Happiness
to Man,
But Joys like those that Lovers Souls enjoy,
Which here on Earth there's nothing can destroy;
Ay, ay, 'tis Love ouly can be
The Happy Souls
endless felicity.
<NOTE: The score records a third verse, not present in the play, as follows>
3.
Are your delights in what you see,
Of wonderful varietie?
Or can your Joys arise from
pleasant things;
Your tast, or smelling, to your fancy
brings?
No, no, 'tis plain, if this were so,
Eternity by gradual steps must go.
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First line: Rise arise arise rise and come away
Source Edition: The Fatal Jealousie (1672), 3.1, pp.40-3.
First performed: 3 August 1672
UMI(2) reel no.: 470:18 (1673)
Author: Nevil Payne
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Witch sings.
Rise, arise, arise, rise and come away,
My little pretty Spirit Puncula:
What, not appear
at thy Mistresses call,
I'le surely torment thee;
thou shalt not suck at all.
Arise then, I say--- [Spirit
within sings.
Spir. I come, I come away,
The wind it blows hard, and forces me astray.
Witch. <speaks> Let's wait a little, he'l appear, my Lord...
Spirit sings. As you bid, I did go
to the Caverns below
Where the Spirits Inhabit that Govern
the Wind.
And though in their motions they be,
And see
Far, far quicker than we,
Yet
no Intelligence there I could find.
From thence, like
Lightning, I shot to the Pole,
Where at a hole
I glided to the Region of the Air:
But the Spirits
above
Do Mankind so love,
That they drove
me from them with despair.
From thence, in a moment,
to AEtna I came,
Where the Spirits of fire that Inhabit
that flame:
Told me, all that I sought for they knew;
Though to Spirits of Earth,
As I am by Birth;
They'd not tell it; yet hither they flew.
And
hereabouts they stay, till you pray,
And attone them
with Offerings to tell your desire;
For these from of
Old
Have been Lovers of Gold,
The Mettles
being Govern'd by Spirits of fire. [Exit.
Witch.
It's necessary, Son, you throw them something...
There is Gold, there is Gold to you Spirits of fire;
He does willingly offer what you do desire.
Enter first Spirit, second Spirit Ascends. After some flashes of fire they sing.
1. Spir. What Spirit did Lewis attend?
2. Spir. It was I.
1. Spir. Declare to that Lord
what you know.
2. Spir. I need not, the cause he did
dye
Was that truth to him known long ago.
Chor. He's dead, he's dead, he's dead, and now
For hot desires,
In endless fires
Must
Live, must now for ever Live with us below.
Chor. He's
dead, he's dead, &c.
Anto. <speaks> Horrid and wonderful.
1. Spir. Who all Caelia's
Crimes does know?
2. Spir. It is I, but must not shew
All her ill,
For I will [Third Spirit Ascends.
Fit her better e're she go
To her Paramour
below.
3. Spir. But I that Francisco attend,
Can declare,
That he as a Friend
Ye Don Lewis
doth share
I'th' stolen Embraces of Caelia's
sweet Arms;
They kiss and lye down,
Then
Lewis bemoan,
Thus with thoughts of Revenge they double
Loves Charms.
Chor. They kiss and lye, &c.
Anto. <speaks> Thus I have warm'd a Viper
in my bosom,
That wanted only heat enough to sting me,
And give me Death it self.
1. Spir. <sings>
After him can Pedro stay til't be day;
Thus they
sport the Night away,
Flora watching whilst they do
Laugh at you,
Saying, where's the Cuckold now?
1. Spir. They sport.
2. Spir. They laugh.
3. Spir. They kiss and play,
Till your return,
doth make e'm mourn,
And spoils their Holy-day.
Chor. Thus they will do untill they dye,
When we
in Hell, shall think it well
To have their pleasant Company.
[They Descend.
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First line: Ah Choridon in vain you boast
Source Edition: The Fatal Jealousie (1672), 4.1, pp.51-2.
First performed: 3 August 1672
UMI(2) reel no.: 470:18 (1673)
Author: Nevil Payne
Composer: Robert Smith ( nwc)
Source/s of Music: Recorded in Day and Murrie, p.164, n.33 [Music] Playford, John, Choice Songs and Ayres...First Book (1673), p.17 (UMI(2) 221:12) et alia.
Text of song:
Cael. <...>
prethee sing that Song I love so well,
That harmony,
perhaps, will Charm my cares,
And give my senses Rest.
The Song.
1.
Flor.
sings. Ah, Choridon, in vain you boast,
You still do
Cloris Love;
For better 'tis your heart were lost,
Then thus suspitious prove:
You then would kill
me by disdain,
But dying thus you blot my Name.
For all will say
Cloris was false, and went astray;
Cloris was false, and did deserve her shame.
2.
For happy Shepherd, well you know,
Your Fame
does mine excell;
All Gen'rous Choridons do know,
But none my Tale can tell:
Cloris, though true,
must lose that Name,
But Choridon will keep his Fame;
For all will say
Cloris was false, and went astray,
Cloris was false, and did deserve her shame.
3.
But cruel Shepherd, when you hear
That I am
dead indeed,
I do believe you'l shed a tear,
Though now you have decreed,
That Cloris true must
lose that Name,
For Choridon to keep his Fame;
And then you'l say
Cloris was true, and ne're
did stray;
Cloris was true, and I deserve her shame.
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First line: I languish all night and sigh all the day
Source Edition: The Fatal Jealousie (1672), song not printed in play, and added for a revival.
First performed: 3 August 1672
UMI(2) reel no.: 470:18 (1673). Song is ascribed to this play in the London Drollery (1673), p.4.
Author: Nevil Payne
Lyrics: Edward Ravenscroft
Source/s of Music: Recorded in Day and Murrie, p.250, n.1541. See ERTCTG1 for details.
Text of song:
A New Song in the Fatal Jealousie.
I.
I Languish all Night, and sigh all the Day,
And much to be pittied I am,
Ere since your bright eyes
My heart did surprize,
I could not extinguish the
flame:
But since you have known
My heart
was your own,
Who before was so kind, now scornfuller
grown:
If so cruel you prove,
To the man
that you love,
Ah Phillis, Ah Phillis, what Fate
Alas is reserved for the man that you hate.
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First line: From friends just inspired with brisk Burgundy wine
Source Edition: The Morning Ramble, or The Town Humours (1672), 1.1, pp.2ff.
First performed: 4 November 1672.
UMI(2) reel no.: 470:19 (1673)
Author: Nevil Payne
Composer: Robert Smith ( nwc)
Source/s of Music: Recorded in Day and Murrie, p.224, n.1085 [Music] Playford, John, Choice Songs and Ayres...First Book (1673), p.68 (UMI(2) 221:12).
Text of song:
Mer. No, but I would have her be as mad, and love those that do, Women are fine thin things, the breath of a Man that is merry is sufficient to inspire them with wit enough for a Woman, and therefore here I declare that I will serenade her, and if she shews the least dislike to the frolick, I will, in spight of Love and all his little tricks, disclaim her for ever. And therefore, Boyes, to our bus'ness; come, the Song I made.
Town. Well, I'le stay to see thee a poor discarded, melancholy, disconsolate Lover, and then I'le leave thee, and go to my Mistress.
Song.
From Friends just inspir'd
with brisk Burgundy wine,
Speaking raptures of Reason,
and sayings Divine.
I come---I come---from this Heav'n
I come,
And through dirt and darkness I willingly roam,
To follow a Boy that confesses he's blind,
He tells me of hope, but leads me through fear,
Nay,
sometimes I'm just on the brink of despair;
Yet on
I follow, I follow still, leaving behind
The two mighty
Blessings, my Bottle and Friend.
He tells me of Bliss,
Beyond this,
Yet will not declare where my Journey
shall end.
Chorus. Ah, what Charms have those Eyes!
That a Love so strong can inspire,
It Mirth, Wit,
and Friendship defies,
And Wine cannot slacken its fire.
Then spight of my self I must follow him still,
A Devil, or a God, let him be which he will,
I cannot,
nay, would not retire,
No, though I were sure to be burnt
in the fire.
Rose appears in a Night-Gown above.
<Dialogue follows...>
Mer. Faith, no parting so. Strike up, and sing the Chorus,
Chor. <sings> Ah, what Charms have those Eyes,&c.
Hon. Pray hold, my Brothers coming.
Mer.
I am glad of it, since I cannot reclaim the Sister from doting on
Sobriety. I'le see what can be done on the Brother; go
on.
Sings. Then spight of my self, &c.
<NOTE: At the beginning of the second act (following NPTMR2), the chorus is sung again, as follows>
Enter Muchland, Townlove, Merry, Fiddles, and Torches.
Mer. Strike up, Boys, sound Alarm to the sleepy Sentinels of this Fortification. <sings> Ah, what Charms have those Eyes, &c.
<followed by a section of dialogue, then>
Mer. Sound a Charge, and Enter.
[Ex. Singing and Playing.
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First line: Boy call the coach come Jack let's away
Source Edition: The Morning Ramble, or The Town Humours (1672), 1.1, pp.11-2.
First performed: 4 November 1672.
UMI(2) reel no.: 470:19 (1673)
Author: Nevil Payne
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Town. Then to your bus'ness; first, the Catch in commendation of the Liberal Art of Wenching, and then a Dance, to shew the methodical motion of Reeling.
Catch.
1.
Boy, call the Coach; come, Jack, let's away:
'Tis
tedious to sit out this Tragical Play.
A Plague o'their
plotting and dying in Rhime,
Let's drive to the Park
Before it be dark,
There we'l better dispose
of our Time.
2. Stay, who is that so drest like a Queen?
1. 'Tis the fine Lady Lofty, but let's not be seen:
For her Husband is surely gone out.
Chor. ---She
searches to find
If a Friend will be kind,
And treat her abroad with a Supper and 'bout.
2.
Why should she want that? Her Lords a brave Man.
1. Ay,
Jack, but they're marry'd.
2. Then what two are
yon?
1. 'Tis Will Lovewell and his pretty Miss,
He hath kept her this seven year, yet prethee, Jack, see
How jocund and merry they be,
How Crown'd,
and incircl'd with Bliss.
Chor. Love Revels, and
Feasts in hearts that are free,
But languishing starves
if restrained he be.
1. See, yonder sits Well-born with
his pretty Wife.
2. They look as they'd ne're
seen each other before.
1. Shee seeks for her Gallant,
and he o'my Life
Hath a mind to be feaguing yon Vizor-Mask-Whore.
But stay, let me see; by Heav'ns 'tis so,
That Mask hides a Lady I know,
Who seems for to dote
on Husband and Honour,
But look there, Ned Ranter has
just fixt upon her.
2. She hath yielded, and see they
do go.
1. If Wives will do this,
Give me
the true Miss,
She'd be hang'd e're she'd
serve a Man so.
Chor. They're Fools then that Marry,
and strive to confine
In politick Chains what still will
be free; A Dance; and Exeunt Dancing.
No Fetters can
hold a pow'r that's Divine,
Nor Shackles restrain
great Loves Deity. [Manet Hon. and Rose.
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First line: Grave sober sots rise from your beds
Source Edition: The Morning Ramble, or The Town Humours (1672), 2.[4], pp.21-2.
First performed: 4 November 1672.
UMI(2) reel no.: 470:19 (1673)
Author: Nevil Payne
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Mer. Come then, a Levite; my Man here has a Speech to go round with: I use it at my Friends Windows as I Ramble to my Lodgings a Mornings. [A Levite sounded. Come, I'le speak it first at this Corner my self, and then he shall about with it, whilst we fall to our Dance.
Grave sober Sots rise from your Beds,
And just
thrust out your Logger-heads,
With Eyes half shut, and
senses dull'd
You'l see a little how you're
gull'd,
And kept from pleasures of the Dark,
By precepts wise of Lamb and Lark.
But learn by
us your Lives to mend,
For Life is short, and time will
end:
And when you're dead, for what you do,
Your merry Heirs will laugh at you.
<NOTE: Not clear whether recited or sung>.
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First line: The trade of wine is much decayed of late
Source Edition: The Morning Ramble, or The Town Humours (1672), 2.[4], pp.25-7.
First performed: 4 November 1672.
UMI(2) reel no.: 470:19 (1673)
Author: Nevil Payne
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Mer. <...> War is declar'd, and shall be carry'd on against all the Obstructions of Trade, as you shall hear in a Song lately publish'd, in which all must bear their parts.
Song.
1. The Trade of wine is much decay'd
of late;
The Vintners complain, and the Customs abate,
For Pickaroon Bill-man in every Street,
Like Capers
make prize of all Traders they meet.
2. Come then, 'tis
time to scowr alongst the Coast;
To re-take good Fellows,
who else may be lost:
'Tis Lawful those Foes to invade,
Who rob us of Honour, and hinder our Trade;
And
a damn'd Zealous Constable 'midst of his Watch-men
Does Trading more harm, then a Squadron of Dutch-men;
1. Weigh Anchor then, and hoist up Sail;
Nore and
by West it blows a merry Gale.
2. The Glass is run, ho,
star-board, Watch, turn out;
Heark, did you hear, that
Gun was from a Scout.
Run to the top,
3.
Hey Boys, I see a Fleet,
They bear hard up to us; we
quickly shall meet.
1. All hands to prayers, and make
ready to fight,
2. You need not, their Flags are
all white;
That Colour denotes them for Wine or a Wench;
All Half-shirts are for us, as sure as the French.
They hale our Scouts, me-thinks I hear e'm call,
1. Whence your Fleet?
3. From White-Hall.
1. VVhence your Fleet?
3. From White-hall.
1. VVe are Friends to e'm, then cry, Huzza.
2. Once
again, Huzza.
1. And again, Huzza.
3. They
are Friends to us, then cry, Huzza.
3. Once again, Huzza.
3. Once again, Huzza.
4. And again, Huzza, huzza,
huzza.
Now we are all met, let's draw into a Line;
Charge every man his Glass of VVine,
'Tis our
Royal high Admirals Health,
VVhilst we drink all Night,
He does Hero-like Fight,
To rescue the Kingdoms
Honour and VVealth.
Let Trumpets sound, and all at once
give Fire,
If the Enemy comes, we'l soon make e'm
Retire.
1. Let's Charge them again, for a Health
to the King.
2. They come, they come, their Bell-man
does Ring.
3. Their Caps, Staves, and Lanthorns I spie,
They've horns in their Flags, and they bear e'm on
high.
4. Fall on then, fall on, tan tara ra ra, &c.
1. They flye, they flye.
2. Then give a Broad-side,
and cry, Vive le Roy, Vive le Roy.
2. Give the Broad-side,
&c.
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First line: Boy bring a glass without marks to confine
Source Edition: The Morning Ramble, or The Town Humours (1672), 3.1, pp.32-3.
First performed: 4 November 1672
UMI(2) reel no.: 470:19 (1673)
Author: Nevil Payne
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Mer. You are i'th' right, Mr. Ruffle; come, the Catch.
Song.
1. Boy, bring a Glass without marks,
to confine
The Ebbs and the Floods of our Drinking;
Our Cups shall be heap'd with a full-tide of Wine,
Till our Tongues do speak wit without thinking.
2.
We will with Wines, AEtherial fire,
Like subtile Chymists,
Bodies change;
That without words each mans desire
Shall through the others fancy range.
1.
Wine shall wash off our Earthly parts,
And to new Creatures
mold us;
2. We'l take off our Bouls,
Till we mingle our Souls,
And the World grows too little
to hold us.
Chor. We'l, &c.
1.
All hands to work then, time slides away,
Night chides
our sloath, and hastens on the day;
2. Then the Sun will
bring heat
For our Limbeck so high,
And make
our Elixar in fumo to flye.
1. Heark, do you hear,
the Men cry Chimney sweep;
Fanatick Wives will now no
longer sleep;
Strange Dreams of Religion have wak'd
e'm by this:
In heat of their zeal
They'l
presently rail
At every thing is, and is not amiss.
2. Be sure if they see us, of Custom they'l say,
We turn Day into Night, and Night into Day;
1.
In this they are right;
We'd turn Day into Night;
But they lye, if they say,
That we would e're
with to turn Night into Day.
Chor. In this, &c.
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First line: Willie was so blithe a lad
Source Edition: The Morning Ramble, or The Town Humours (1672), 4.[3], pp.45-7.
First performed: 4 November 1672
UMI(2) reel no.: 470:19 (1673)
Author: Nevil Payne
Composer: Unrecorded ( Robert Smith?) ( nwc)
Source/s of Music: Recorded in Day and Murrie, p.390, n.3980 [Music] Playford, John, Choice Ayres, Songs and Dialogues (1676), p.76 (UMI(2) 946:27).
Text of song:
Town. I presently; but first you shall sing me the new Scotch Song.
Turn. No, prethee don't; I am so hoarse with sitting up for thee, that I shall never make any Musick of it now, and I do so long to be in Bed, dear Townlove come, let's go.
Town. I must have my Song first, time enough for Bed, we'l not Rise till Dinner time, and that shan't be ready till three, that we may have time to go to the Play.
Turn. And will you stay with me after the Play, and engage with no Body?
Town. Come, my Song, and I won't.
Song.
1.
Willie was so blithe a Lad,
Nene like was in the Town;
At Wake and Wassel Willie
had
For Dancing chief Renown.
2.
He pick'd the Bar, and hurl'd a stean,
Nea Man wou'd him out-gang;
And if he strave with
any ean,
He gard them lig alang.
3.
But Willie needs would Wedded be,
He lik'd
so weele a Lass
That bonny was, and full of glee,
And mickle all did pass.
4.
Yet
Willie was no sooner Wed,
But he full sear did pine;
He cross'd his Arms, hang'd down his Head,
And still had watry Eyne.
5.
Ah,
wea is me, would Willie say,
That I am thus forlorn;
I now can neither Dance nor Play,
Nor ought but
wind a Horn.
6.
The Lads and
Lasses all do laugh,
And scorn me as I gang;
They do me all Cuckold knowgh,
And gibe me with this
Sang.
7.
Willie soon must gang
to work,
Or Nonne Scodes him sear;
Mass Johnne
e're he wends to Kirk
Mun con a point we her.
8.
Then Jocky, Sawny, Hugh, and Kit,
Ralph, Wat, and many mere,
Gang when they please,
and take a bit,
Whilst Willie keeps the whore.
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First line: We are gallants of the town
Source Edition: The Morning Ramble, or The Town Humours (1672), 5.[2], pp.73-4.
First performed: 4 November 1672
UMI(2) reel no.: 470:19 (1673)
Author: Nevil Payne
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Ruff. Friends all, Friends all; why, this is fine i'faith: Now, Muchland, hang the Catch; come, pass it by.
Much. Not for the World: Come, the Wine there, and begin.
A Catch Sung by Ruffle, Breef, and Fullam: They in their turns, Drinking, Kicking, and Cuffing one the other at the words to that purpose.
Ruffle. We are Gallants of the Town;
Men of
Sprightly Breeding:
If Oaths will do't, we run e'm
down,
But never come to Bleeding.
Chor. We
measure Swords, appoint the place, and thither do repair too;
But Drink, Huff, Kick, Cuff; this is all we dare do.
Fullam. At Play-House we do count it brave
To
have the Masques Acquaintance;
'Gainst Wit and Sence
we alwayes rave,
And call't insipid Non-sence.
Chor. We measure Swords, appoint the place, and thither do
repair too;
But Drink, Huff, Kick, Cuff; this is all
we dare do.
Breef. In Coffee-House we Battles
sight,
And censure men of Honour;
We swear
that such a Ladies right,
And hath a Clap upon her.
Chor. We measure Swords, appoint the place, and thither do
repair too;
But Drink, Huff, Kick, Cuff; this is all
we dare do.
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First line: Song has no lyrics
Source Edition: The Siege of Constantinople (1674), 1.1, p.17.
First performed: 2 November 1674
UMI(2) reel no.: 701:12 (1675)
Author: Nevil Payne
Source/s of Music: Not recorded in Day and Murrie
Text of song:
[Musick plays; Enter several persons as to Masquerade; amongst them Thomazo, Dorello, Irene, Udoxia, and Calista.
A Song.
After the Song <...>
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First line: Now fruition has empti'd our bottles of love
Source Edition: The Siege of Constantinople (1674), 2.[3], p.34.
First performed: 2 November 1674
UMI(2) reel no.: 701:12 (1675)
Author: Nevil Payne
Source/s of Music: Not recorded in Day and Murrie
Text of song:
SONG.
Now Fruition has empti'd our Bottles of Love,
Let the Bottles of Wine fly about;
The heat of
that Fire,
Shall inflame our desire,
And
Phlegmatick Dulness remove.
A Health to the best,
A Pox o'th' rest,
And hey for the t'ther
brisk Bout.
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First line: They come they come
Source Edition: The Siege of Constantinople (1674), 2.[3], p.36.
First performed: 2 November 1674
UMI(2) reel no.: 701:12 (1675)
Author: Nevil Payne
Source/s of Music: Not recorded in Day and Murrie
Text of song:
SONG.
Andrea. sings.
They come, they come;
Hark, do you hear that Drum?
It is an Alarum to
War;
To Love it does Beat,
A Fatal Retreat:
See, see, where our Enemies are.
A Noise,
a Noise,
Of Shouts and Dreadful Crys
Has
frighted our Scouts, they come in:
Then farewel delight,
Till after the Fight,
We'll Rout them, and
at it agen.
They Fly, they Fly,
Hark
how they Quarter cry;
Their Valour lies now in their
speed:
Their Bassa's in vain
Would Rally
again,
But a Turk delights not to Bleed.
Bring
Wine, bring Wine,
What do you still repine?
To trust a brave Souldier for drink;
The Enemy's
run,
Then Souldier be gone,
He'l never
return you do think.
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First line: Song has no lyrics
Source Edition: The Siege of Constantinople (1674), 3.[5], p.43.
First performed: 2 November 1674
UMI(2) reel no.: 701:12 (1675)
Author: Nevil Payne
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Enter Andrea, Lionello, Souldiers poyson'd---doing mad things; some Cuffing, some Singing.
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First line: Venus chanc'd to love a boy
Source Edition: The Siege of Constantinople (1674), 3.[5], p.46.
First performed: 2 November 1674
UMI(2) reel no.: 701:12 (1675)
Author: Nevil Payne
Source/s of Music: Not recorded in Day and Murrie
Text of song:
A Song without, after which Kecko comes in Playing.
<1.>
Venus chanc'd to Love a Boy,
Young Adonis
was her joy;
He once lept from off her Knee
To hunt and take an Humble-Bee.
Then the Bagg to her
did bring,
She sigh'd, and askt him for the Sting.
2.
When he look'd on, saw her Eye
Drop a Tear, he strait did cry,
Oh! forgive me,
I will bring
A bigger and a longer Sting.
Smiling, she cry'd, pretty Lad,
When that time comes,
I'le be glad.
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First line: In caves full of sculls and rotten old bones
Source Edition: The Siege of Constantinople (1674), 5.1, p.77.
First performed: 2 November 1674
UMI(2) reel no.: 701:12 (1675)
Author: Nevil Payne
Source/s of Music: Not recorded in Day and Murrie
Text of song:
SONG.
In Caves full of Sculls, and rotten old Bones, He Sings.
She Sighs in the Day-time, and in the Night Groans.
'Mongst
Ghosts of the Guilty, for ever She'l howle,
And in
Beds fill'd with Serpents eternally Role.
But I and
Irene will be Merry,
Amongst happy Lovers we'l Play,
Ah Charon! make hast with your Ferry,
Row hard,
and I'le double your Pay.
Irene we'l part no
more--- Falls down.
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First line: To thee oh gentle sleep alone
Source Edition: Tamerlane (1701), 4.1, p.47.
First Performed: December? 1701 (L.S.)--pub. 6 January 1701/2.
CT(1) reel no.: 11147:01 (1703)
Author: Nicholas Rowe
Lyrics: "A Lady"
Source/s of Music: Not recorded in Day and Murrie
Text of song:
A SONG to Sleep. By a Lady.
To Thee, oh! gentle
Sleep, alone
Is owing all our Peace,
By Thee
our Joys are heighten'd shown,
By Thee our Sorrows
cease.
The Nymph, whose Hand, by Fraud, or Force,
Some Tyrant has possess'd,
By Thee, obtaining
a Divorce,
In her own Choice, is blest.
Oh!
stay; Arpasia bids thee stay,
The sadly weeping Fair
Conjures Thee, not to lose in Day
The Object of
her Care.
To grasp whose pleasing Form she sought,
That Motion chac't her Sleep,
Thus by our selves,
are oft'nest wrought
The Griefs, for which wee weep.
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First line: Upon a shady bank repos'd
Source Edition: The Ambitious Stepmother (1700), 3.1, pp.28-9.
First Performed: c. December 1700
CT(1) reel no.: 11186:02 (1701)
Author: Nicholas Rowe
Lyrics: B. Stote
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Cleone is discover'd lying on a Bank of Flowers,<Beliza> attending.
SONG, by B. Stote, Esq;
Upon
a shady Bank repos'd,
Philanthe, amorous, young,
and fair,
Sighing to the Groves, disclos'd
The Story of her Care.
The Vocal Groves give some
relief,
While they her notes return,
The
Waters murmur o're her grief,
And Eccho seems to
mourn.
A Swain that heard the Nymph complain,
In pity of the fair,
Thus kindly strove to Cure
her pain,
And Ease her Mind of Care.
'Tis
just that Love should give you rest,
From Love your Torments
came;
Take that warm Cordial to your breast,
And meet a kinder flame.
How wretched must the
woman prove,
Beware, fair Nymph, beware,
Whose folly scorns anothers Love,
And Courts her own
Despair.
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First line: Hail light that doubly glads our sphere
Source Edition: The Ambitious Stepmother (1700), 3.[3], pp.39-41.
First Performed: c. December 1700
CT(1) reel no.: 11186:02 (1701)
Author: Nicholas Rowe
Lyrics: W. Shippen
Source/s of Music: Not recorded in Day and Murrie
Text of song:
The Scene opening shews the Alter of the Sun, Magas and several other Priests attending. Solemn Musick is heard <...> while the following Hymn is perform'd in Parts, and Chorus by the Priests.
HYMN to the Sun, by W. Shippen. Esq;
Hail
Light, that doubly glads our sphere,
Glory and Triumph
of the year!
Hail Festival for ever blest,
By the adoring ravisht East!
Hail Mithras, mighty
Deity!
For Fire and Air, and Earth and Sea,
From thee their origin derive,
Motion and Form from thee
receive.
When Matter yet unacted lay,
No sooner thou infus'd thy Ray,
But the dull mass
its pow'r obey'd,
But an harmonious World was
made.
Which still, when thou withdrawst thy beams,
And undistinguisht Chaos seems;
For what are objects
without sight?
Or vision when involv'd in night?
Night is an universal Grave,
Where things but
doubtful Beings have,
Till them thy beams illuminate,
And as it were again create.
Chorus, &c.
Hail source of immaterial fire,
That ne're
begun, can ne're expire,
Whose Orb, with streaming
Glories fraught,
Dazles the ken of human Thought!
All the dependant Spheres above,
By thy Direction
shine and move.
All purer beings here below,
From thy immediate Essence flow.
What is the Soul
of man but light,
Drawn down from thy transcendant height?
What but an Intellectual beam?
A spark of thy immortal
flame?
For as thou rulest with gladsome Rays
The greater world, so this the less,
And like thy
own diffusive Soul,
Shoots life and vigour thro the whole.
Since then from thee at first it came,
To thee,
tho clogg'd, it points its flame,
And conscious of
superiour Birth,
Despises this unkindred Earth.
Chorus, &c.
Hail Orosmades, Pow'r
Divine!
Permits us to approach thy shrine,
Permit thy Votaries to raise
Their grateful voices to
thy Praise.
Thou art the Father of our Kings,
The stem whence their high lineage springs,
The
Sov'reign Lord that does maintain
Their uncontroul'd
and boundless Reign.
O then assist thy drooping
Son,
Who long has grac'd our Persian Throne!
O may he yet extend his sway!
We yet Arsaces Rule
obey!
Let thy viality impart
New Spirits
to his fainting Heart;
Let him like thee (from whom he
sprung)
Be ever Active, ever Young.
Chorus,
&c.
<NOTE: The Chorus follows every fifth verse and would seem to be a repeat of that verse>.
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First line: Tell me no more I am deceived [While Sylvia seems so kind]
Source Edition: A Duke and no Duke (1684), Back matter, pp.45-7.
First performed: 18 August 1684? (H/S), Mid-August 1684 (Danchin)
UMI(2) reel no.: 734:10 (1685)
Author: Nahum Tate
Composer: Giovanni Battista Draghi ( nwc)
Lyrics: Sir George Etherege
Source/s of Music: Recorded in Day and Murrie, p.343, n.3162 [Music] Tate, Nahum, A Duke and No Duke (1685), pp.45-7.
Text of song:
A Song written by Sir George Etheridge, and set to Music by Signior Baptist.
<I.>
Tell me no more I am deceiv'd,
While Sylvia
seems so kind;
And takes such care to be believ'd,
The Cheat I fear to find:
To flatter me should
Falshood lye
Conceal'd in her soft Youth;
A thousand times I'd rather dye,
Than see the unhappy
Truth;
II.
My Love all Malice
shall outbrave,
Let Fops in Libels rail;
If she the Appearances will save,
No Scandal can prevail:
She makes me think I have her Heart,
How much for
that is due?
Tho' she but act the tender part,
The Joy she gives is true.
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First line: Ah poor Olinda never boast
Source Edition: A Duke and no Duke (1684), Back matter, pp.47-8.
First performed: 18 August 1684? (H/S), Mid-August 1684 (Danchin)
UMI(2) reel no.: 734:10 (1685)
Author: Nahum Tate
Composer: Robert King ( nwc)
Lyrics: "a Lady"
Source/s of Music: Recorded in Day and Murrie, p.167, n.74 [Music] A Collection of Twenty Four Songs (1685), sig.b3 (UMI(2) 176:44) et alia.
Text of song:
A Song written by a Lady, and set to Music by Mr. King.
<I.>
Ah poor Olinda! never boast
Of Charms that have
thy Freedom cost,
They threw at Hearts, and thine is
lost.
Yet none thy Ruine ought to blame,
His Wit first blew me to a Flame,
And fans it with the
Wings of Fame.
II.
In vain
do I his Person shun,
I cannot from his Glory run,
That's Universal as the Sun.
In Crowds his
Praises fill my Ear,
Alone his Genius does appear,
He, like a God, is ev'ry where.
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First line: Who can resist my Celia's charms
Source Edition: A Duke and no Duke (1684), Back matter, pp.49-51.
First performed: 18 August 1684? (H/S), Mid-August 1684 (Danchin)
UMI(2) reel no.: 734:10 (1685)
Author: Nahum Tate
Composer: Giovanni Battista Draghi ( nwc)
Lyrics: "a Person of Quality" (Lord Dorset?--see NTADAND4 )
Source/s of Music: Recorded in Day and Murrie, p.385, n.3905 [Music] Tate, Nahum, A Duke and No Duke (1685), pp.49-51 et alia.
Text of song:
A Song written by a Person of Quality, and set to Music by Signior Baptist.
Who can resist my Celia's Charms?
Her Beauty
wounds, and Wit disarms;
When these their mighty Forces
joyn,
What Heart's so strong but must resign?
Love seems to promise in her Eyes,
A kind and lasting
Age of Joys;
But have a care, their Treason shun,
I look'd, believ'd, and was undone,---done.
In vain a thousand ways I strive,
To keep my fainting
Hopes alive;
My Love can never find Reward,
Since Pride and Honour is her Guard.
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First line: Damon if thou wilt believe me
Source Edition: A Duke and No Duke (1685), song not printed in play.
First performed: 18 August 1684? (H&S), Mid-August 1684 (Danchin)
UMI(2) reel no.: 734:10 (1685)
Author: Nahum Tate
Composer: 1. Mr. Alexander Damascene( nwc); 2. Anonymous ( nwc)
Lyrics: "a person of Quality" ( Lord Dorset)
Performer's: Mrs. Cibber
Source/s of Music: Recorded in Day and Murrie, p.207, n.789 [Music] Henry Playford, The Banquet of Musick...Fifth Book, 1691, p.3 (UMI(2) 1510:35) and others.
Text of song:
<I.>
Damon, if thou will
<you will> believe me,
'Tis not sighing
round <o're> the Plain;
Song<s>,
nor Sonnet<s>, can<'t> relieve thee
<ye>,
Faint attempts in Love are vain:
Urge but home the fair Occasion,
And be Master
of the Field;
To a pow'rful kind Invasion,
'Twere a madness not to yield.
II.
Though she swears, She'l ne're permit ye
Cries <Say's>, You're rude, and much to blame;
And with Tears implore your Pity,
Be not Merciful
for shame:
When the fierce <first> Assault
is over,
C<h>loris time enough may <will>
find
This her cruel furious Lover <This so fierce
and Cruel Lover>
Much more gentle, not so kind.
III.
Love gives out a large Commission,
Still Indulgent to the Brave;
But one Sin of base
omission,
Never Woman yet forgave:
But true
Vigour in Performing,
Turns the Tragick Scene to Farce;
And she'l rise appeas'd next morning,
With
dry Eyes, and a wet A---.
<NOTE: Words in brackets are from the second version of the score which differs from the first. Subsequent printed versions follow the second setting. The third verse is omitted from the second setting. In Poems on Affairs of State...Volume Three, 1698, pp.198-9 (UMI(2) 1408:22) the song is ascribed to Lord D<orset>>.
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First line: Sleep ye great manes of the dead
Source Edition: Brutus of Alba, or The Enchanted Lovers (1678), 2.1, p.15.
First performed: June 1678 (Danchin)
UMI(2) reel no.: 516:17
Author: Nahum Tate
Source/s of Music: Not recorded in Day and Murrie
Text of song:
The Scene opening <...> a Priestess clad in White, at each Corner, they round the Tomb scattering Flowers and singing the following Stanza's <...>
I.
Sleep ye great Manes of the Dead,
Whilst our
Solemn Round we Tread,
Whilst at our Cell as at a Shrine,
We nightly wait with Rites Divine;
Whilst to adorn
the Tomb we bring
The earliest Glories of the Spring,
And Sweetest Softest Anthems Sing;
The Floor with
hallow'd Drops Bedewing,
And all around fresh Roses
Strewing.
II.
Ye Guardian Powers
that here resort,
For ever make this Cell your Court;
If devoutest Pray'rs invite ye,
Or Sabaean
Gumms delight ye,
Then make this Sacred Urn your Care,
And nightly to this Cell repair,
To Feast on Frankincense
and Pray'r.
Around we goe the Floor bedewing,
Violets, Pinks, and Roses Strewing.
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First line: Bid the sad forsaken grove
Source Edition: Brutus of Alba, or The Enchanted Lovers (1678), 5.1, p.55.
First performed: June 1678 (Danchin)
UMI(2) reel no.: 516:17
Author: Nahum Tate
Composer: Thomas Farmer ( nwc)
Lyrics: Mr. Wright
Source/s of Music: Recorded in Day and Murrie, p.183, n.370 [Music] Playford, John, Choice Ayres and Songs...Third Book (1681), p.2 (UMI(2) 286:13).
Text of song:
Ama. Soft Musick, and complaining Songs
may calm
This Rage, I've known it a successfull Charm.
Song. Written by Mr. Wright.
Bid the
sad forsaken Grove
To sigh for ever, sigh as much as
I.
Bid the Dew fall, and the Skie weep apace,
Weep like the Queen of Love:
It cannot be more show'ry
then her Face.
Ah hapless Deity,
And still
more wretched 'cause she may not Die.
Can there be
further joy in the Celestial store,
Now my best Heav'n
Adonis is no more,
He is no more, no more!
Hark, methinks I hear each Tree
Murmur in Parts
as sighing Breezes rise
And make (whilst Time their nodding
Branches keep)
A mournfull Symphony.
The
Skies too find a thousand Eyes to weep.
Ah you deceitfull
Skies,
When my Adonis fell where were those Eyes?
Can there be further joy in the Celestial store,
Since the sweet Youth Adonis is no more,
He is no more,
&c.
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First line: Good store of brisk claret supplies ev'ry thing
Source Edition: Cuckolds-Haven: or, An Alderman No Conjurer (1685), 1.1, p.4.
First performed: July 1685 (Danchin)
UMI(2) reel no.: 1103:27
Author: Nahum Tate
Source/s of Music: Not recorded in Day and Murrie, or Simpson.
Text of song:
Quick. And who shall say me nay? I will both Talk and Swear, I am a Gentleman, and may Swear by my Pedigree. Golding thou art yet---but I'll improve thee into a Man and a good Fellow, I will shew thee Company, with Souls in them, Drink thee into good Blood.
Good store of brisk Claret supplies ev'ry thing,
And the Man that is Drunk, is as great as a King.
<NOTE: This song first appears in TSTWC5 and TSTWC7 (but again without music). Not listed in Simpson>.
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First line: The wise believe that I love none
Source Edition: Cuckolds-Haven: or, An Alderman No Conjurer (1685), 1.3, p.9.
First performed: July 1685 (Danchin)
UMI(2) reel no.: 1103:27
Author: Nahum Tate
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Gir. <...> Page, let me have the French Song, it will help off this fatigue of Dressing.
SONG.
She. The Wise believe that I love none,
And
some that I love All;
While none can call my heart his
Own,
Each Portion is so small.
He.
Some say, I for Olinda dye;
My Breast so fierce a Passion
warms;
Most think my hour is not so nigh,
But ah! They little know her Charms.
She. My Heart's
the Weather-cock of Love,
Which ev'ry Sigh can turn;
And ev'ry am'rous Breath can move,
But
Nothing make it burn.
He. My Heart is Love's
meer Tennis-Ball,
Here tost, there bandy'd up and
down;
But in good Hands, if once it fall,
'Tis
lodg'd, 'tis then for ever gon.
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First line: The froe she wan an excise
Source Edition: Cuckolds-Haven: or, An Alderman No Conjurer (1685), 2.2, p.16.
First performed: July 1685 (Danchin)
UMI(2) reel no.: 1103:27
Author: Nahum Tate
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Sec. It is not worth thy Pains, my Goldfinch; Look you, I can make you ten times better Musick.
The Froe She wan an Excise, &c.
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First line: How great are the blessings of government made
Source Edition: Cuckolds-Haven: or, An Alderman No Conjurer (1685), appended to the end of Act Two.
First performed: July 1685 (Danchin)
UMI(2) reel no.: 1103:27
Author: Nahum Tate
Composer: Henry Purcell ( nwc)
Source/s of Music: Recorded in Day and Murrie, p.243, n.1407 [Music] Second Book of the Pleasant Musical Companion (1686), II.10 (UMI(2) 193:3) et al.
Text of song:
SONG.
How great are
the Blessings of Government made,
By the excellent Rule
of our Prince?
Who, while Trouble and Cares do his Pleasures
invade,
To his People all Joy does dispense:
And while He for us is still carking and thinking,
We
have nothing to Mind, but our Shops and our Trade,
And
then to divert us with Drinking.
From him we derive
all our Pleasure and Wealth:
Then fill me a Glass, nay,
fill it up higher,
My Soul is a thirst for His Majesty's
Health,
And an Ocean of Drink can't quench my Desire:
Since all we Enjoy, to his Bounty we Owe,
'Tis
fit all our Bumpers like that shou'd O'erflow.
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First line: Love's delights were past expressing
Source Edition: The History of King Richard the Second (1681), song in "the Third Act".
First performed: 11 December 1680 (Danchin)
UMI(2) reel no.: 297:25
Author: Nahum Tate
Source/s of Music: Not recorded in Day and Murrie
Text of song:
SONG for the third ACT.
I.
Love's
Delights were past Expressing
Cou'd our happy Visions
last,
Pity 'tis they fly so fast;
Pity
'tis so short a Blessing,
Love's Delights were
past expressing
Cou'd our happy Visions last;
Tide's of Pleasure in possessing
Sweetly Flow,
but soon are past.
Love's Delights, &c.
II.
Calms in Love are fleeting Treasure,
Only Visit and Away;
Hasty Blessing we enjoy,
Tedious Hours of Grief we Measure:
Calms in Love
are fleeting Treasure,
Only Visit and Away,
Sighs and Tears fore-run the Pleasure,
Jealous Rage succeeds
the Joy.
Calms in Love, &c.
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First line: Retir'd from any mortal's sight
Source Edition: The History of King Richard the Second (1681), song "in the last Act", 5.3, p.53.
First performed: 11 December 1680 (Danchin)
UMI(2) reel no.: 297:25
Author: Nahum Tate
Composer: Henry Purcell ( nwc)
Source/s of Music: Recorded in Day and Murrie, p.323, n.2804 [Music] Playford, John, Choice Ayres and Songs...Fourth Book (1683), p.77 (UMI(2) 286:14) et al.
Text of song:
<From 5.3, p.53>
Richard. <...> I smile at this fantastick
Cruelty.
Ha, Musick too!---Ev'n what my Torturers
please.
[Song and soft Musick, after which a Messenger Enters.
<From Front Matter>
SONG For the Prison SCENE in the last ACT.
1.
Retir'd from any Mortals sight
the Pensive
Damon lay,
He blest the discontented Night,
And Curst the Smiling Day.
The tender sharers of his
Pain,
His Flocks no longer Graze,
But sadly
fixt around the Swain,
Like silent Mourners gaze.
2.
He heard the Musick of the Wood,
And with a sigh Reply'd,
He saw the Fish sport
in the Flood,
And wept a deeper Tyde.
In
vain the Summers Bloom came on,
For still the Drooping
Swain,
Like Autumn Winds was heard to Groan,
Out-wept the Winters Rain.
3.
Some
Ease (said he) some Respite give!
Why, mighty Powrs,
Ah why
Am I too much distrest to Live,
And
yet forbid to Dye?
Such Accents from the Shepherd flew
Whilst on the Ground He lay;
At last so deep a
Sigh he drew,
As bore his Life away.
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First line: Song has no lyrics
Source Edition: The Island-Princess (1687), 1.3, p.10.
First performed: 25 April 1687 (H/S)
UMI(2) reel no.: 1537:30
Author: Nahum Tate
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Keep.
Mark with what Majesty he heaves his Head up.
Hark now.
[Musick and Song.
1. Moor. <speaks> O charming Grief!
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First line: Song has no lyrics
Source Edition: The Island-Princess (1687), 3.3, p.26.
First performed: 25 April 1687 (H/S)
UMI(2) reel no.: 1537:30
Author: Nahum Tate
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Quisara laid Melancholy. Panura waiting. Soft Musick and Song.
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First line: Tell my Strephon that I die
Source Edition: The Loyal General (1679), 3.1, p.29.
First performed: December 1679 (Danchin)
UMI(2) reel no.: 370:3 (1680)
Author: Nahum Tate
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Song.
1.
Tell my Strephon that I die,
Let th'Ecchoes to each other tell,
Till the
mournful Accent fly
To Strephon's Ear and all is
well.
2.
But gently break the
fatal Truth,
Sweeten ev'ry sadder sound;
For Strephon's such a tender Youth,
The gentlest
words too deep will wound.
3.
No!
Fountains, Eccho's, all be dumb;
For shou'd I
cost my Swain a Tear,
I shou'd repent me in the Tomb,
And grieve t'have bought my Rest so dear.
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First line: Arm Britons hark how from afar
Source Edition: Europe's Revels (1697), 1.1, p.1.
First performed: November (?) 1697 (Danchin)
UMI(2) reel no.: 796:17
Author: Peter Anthony Motteux
Composer: Set by John Eccles but music is not extant (?)
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Set to Musick by Mr. John Eccles.
After a Warlike Symphony, an Alarm with Trumpets and Drums.
Enter an English Officer.
Arm, Britons!
hark! how from afar
Alarming Drums and Trumpets call
to War.
"France, whose exerted Pow'rs decrease,
"Collects them for a last Effort;
"But
when she cannot fright, will court
"And bribe us
into Peace.
<NOTE: The next song follows immediately after this one>.
[ Return to Top ]
First line: See how all the brave assemble
Source Edition: Europe's Revels (1697), 1.1, p.2.
First performed: November (?) 1697 (Danchin)
UMI(2) reel no.: 796:17
Author: Peter Anthony Motteux
Composer: Set by John Eccles, but music is not extant (?)
Source/s of Music: Not recorded in Day and Murrie
Text of song:
<NOTE: This song follows immediately after the previous one>.
Officer. See how
all the Brave assemble!
How they hurry
All
to Glory!
William Thunders, Armies tremble.
Death or Conquest is the Cry.
Now we sally,
Now they fly;
Now they rally,
Charge, and
dye.
Cannons roaring,
Squadrons pouring;
Shouting,
Routing,
We pursue 'em,
We Subdue 'em.
Rage and Horror, Groans and
Fear,
Blood and Slaughter ev'ry where.
The Chorus with all the Instruments repeat the foregoing Lines from See how all the Brave, &c.
<NOTE: The next song follows immediately after this one>.
[ Return to Top ]
First line: Peace tunes the world harmonious peace
Source Edition: Europe's Revels (1697), 1.1, pp.2-3.
First performed: November (?) 1697 (Danchin)
UMI(2) reel no.: 796:17
Author: Peter Anthony Motteux
Composer: Set by John Eccles, but music is not extant (?)
Source/s of Music: Not recorded in Day and Murrie
Text of song:
<NOTE: This song follows immediately after the previous one>.
Enter a Lady at the Close of the Chorus, and the Martial Musick immediately changes, at her first Word, into softer Notes, with accompaniments of Flutes
Peace! Peace! Peace tunes the World: Harmonious Peace
Bids War and Discord cease.
Thus does it Heav'n
and William please,
William whom nothing can oppose,
Who can like Neptune calm the Seas,
And bless,
like Jove, his very Foes.
Advance, happy Nations,
to praise him, advance,
From Britain, from Spain, from
Belgia, from France;
Sing William, and Peace, sing, revel,
and dance.
[ Return to Top ]
First line: Madame me be de tout mon coeur
Source Edition: Europe's Revels (1697), 1.1, pp.4-6.
First performed: November (?) 1697 (Danchin)
UMI(2) reel no.: 796:17
Author: Peter Anthony Motteux
Composer: Set by John Eccles, but music is not extant (?)
Source/s of Music: Not recorded in Day and Murrie
Text of song:
A French Officer makes his Adresses to an English Lady.
Fr. Off. Madame, me be, de tout
Mon Coeur,
Your very humble Serviteur.
Begar
me wish to have de Peace,
Only to come embrace your Knees.
Your Roy Guillaume is brave en Diable;
Me saw him
take Namur dat's impregnable.
'We all lookt on,
for we had den
'But hundra twenty tousan Men.
Your Soldier can do Wonders too
And love to Fight
as we to Dance;
But had day all been such as you,
Begar, dey wou'd have Conquer France.
E.
Lad. Still the same I find you are,
Skill'd alike
in Love and War.
Gallantry in both you shew,
But a little Falshood too;
And with Strong deluding Art,
Win a Fort, or bribe a Heart;
Tho' 'tis
like Inconstant Men,
But to give 'em up again.
French Of. We be like all de Vorld indeed,
And
give up vat we cannot keep;
But if me get Possession
here,
Me never give you up, Begar. [Struggles with her.
Eng. Lady. Forbear, forbear!
Er. Of. Ma Chere!
My Dear!
Engl. L. 'Tis all in vain.
Fr.
Off. Is't all in vain?
Eng. L. 'Tis all in vain.
Fr. Off. Is't all in vain? Jer'nie! me then--- me,---Begar,
me go home again.
Both. Adieu, adieu, go home again.
To him a French Woman.
'Oh! Vat
do I see?
'Will dis Ingrat still vanton be,
'And to gain oders Ruin me?
E. Lad. 'Let
roving Thoughts and wandring cease,
'And sigh no more
for Foreign Charms:
'At Home enjoy the sweets of Peace,
'In your fond faithful Consorts Arms.
[All three repeat the last four Lines]
<NOTE: The next song follows immediately after this one>.
[ Return to Top ]
First line: Now my dear the war is over
Source Edition: Europe's Revels (1697), 1.1, pp.6-7.
First performed: November (?) 1697 (Danchin)
UMI(2) reel no.: 796:17
Author: Peter Anthony Motteux
Composer: Set by John Eccles, but music is not extant (?)
Source/s of Music: Not recorded in Day and Murrie
Text of song:
<NOTE: This song follows immediately after the previous one>.
An English Officer to the English Lady.
He. 'Now, my Dear the
War is over,
'And I can be wholly thine.
'Come
be kind: Yield to your Lover,
'And no Flame shall
last like mine.
She. 'Hold, Sir Bully! who'd
surrender
'When the Siege is hardly laid?
''Tis
not ev'ry bold Pretender,
'Whose first Summons
is obey'd.
He. ''Tis our way now to
be daring,
'And at once to come and take;
'Pressing,
storming, without caring,
'What Resistance you can
make.
She. 'Feeble Towns may thus be taken,
'Chiefly when surpriz'd or sold;
'Then
they're plunder'd, and forsaken;
'But I can
defend my Hold.
He. 'You'll be us'd
as ill, if early
'On good Terms you do not yield.
She. 'I'm asham'd to beat a Parly, [Bashfully.
'But you're Master of the Field.
He.
'You shall be well treated; fear not:
'Let the
Fortress be resign'd.
She. 'Oh! Your Servant,
Sir, I dare not,
''Till the Articles are Sign'd.
Both. 'Come, 'tis just it should be so,
'Since,
like Foes, all Lovers deal:
'Here's my Hand, now
let us go,
'And within we'll Sign and Seal.
<NOTE: The next song follows immediately after this one>.
[ Return to Top ]
First line: Come neighbours now there's peace let's sing
Source Edition: Europe's Revels (1697), 1.1, pp.7-8.
First performed: November (?) 1697 (Danchin)
UMI(2) reel no.: 796:17
Author: Peter Anthony Motteux
Composer: Set by John Eccles, but music is not extant (?)
Source/s of Music: Not recorded in Day and Murrie
Text of song:
<NOTE: This song follows immediately after the previous one>.
A CLOWN.
<1.>
'Come Neighbours,
now there's Peace let's Sing:
'Troth I love
those that love the King.
'To see his Liege, I came
alone,
'And left the Parson with my Joane.
'Jog
Joggy, jog on; drive, drive on the Waggon:
'Go Gaffer,
jog on, go, get us a Flaggon.
2.
'Our
Landlords thought the Taxes deep;
'But we must Sow
e're we can Reap.
'What Clown can grudge his Money
now?
'Odsnigs, not I; and so, God speed the Plow.
'Jog, Joggy, jog on; drive, drive on the Waggon,
'Go,
Gaffer, jog on; go get us a Flaggon.
<NOTE: The next song follows immediately after this one>.
[ Return to Top ]
First line: Hub ub ub booh [Dish can't be true]
Source Edition: Europe's Revels (1697), 1.1, pp.8-9.
First performed: November (?) 1697 (Danchin)
UMI(2) reel no.: 796:17
Author: Peter Anthony Motteux
Composer: John Eccles
Performer/s: Mr. Lee
Source/s of Music: Recorded in Day and Murrie, p.247, n.1474 [Music] This Dialogue between Mrs. Willis and Mr. Wiltshire...(1698), no.6 (not on microfilm). Score unavailable to compiler.
Text of song:
<NOTE: This song follows immediately after the previous one>.
Enter an Irish Rapparee.
1.
Hub,
ub ub, booh
Dish can't be true:
The War
does cease,
But there's no Peace.
I know,
and find
'Tis Seal'd and Sign'd,
But won't believe 'tis true,
Hubub, ub, booh.
2.
A hohne! a hohne!
Poor
Teague's undone.
I dare not be
A Raparee:
I ne're shall see,
Magrawmacree, His Mistress.
Nor my more dear Garon.
A hohne! a hohne.
3.
Away, away!
I must huzzah:
'Twill hide my Fears,
And save my Ears;
The Mob appears.
Here's to Nassau,
Dear Joys 'tis Usquebaugh.
Huzzah! Huzzah!
<NOTE: The next song follows immediately after this one>.
[ Return to Top ]
First line: Come girls let's be merry the war's at an end
Source Edition: Europe's Revels (1697), 1.1, pp.9-10.
First performed: November (?) 1697 (Danchin)
UMI(2) reel no.: 796:17
Author: Peter Anthony Motteux
Composer: John Eccles
Performer/s: Mrs. Willis and Mr. Wiltshire
Source/s of Music: Recorded in Day and Murrie, p.199, n.640 [Music] This Dialogue... (1698), no.5 (not on microfilm). Score unavailable to compiler.
Text of song:
<NOTE: This song follows immediately after the previous one>.
A Country Lass.
Come Girls, let's be merry;
the War's at an end;
We all shall get Husbands: The
times now will mend:
There's I and our Mary,
Black Susan and Sarah,
Were Woundily Weary,
With living Unwed;
In a woful quandary,
How we should do to tarry.
None ask'd me to Marry,
Or part with my Maidenhead.
Our best Lads to the
Wars went so fast,
And the rest were most of 'em
such Loobies,
E Cod, I fear'd we at last
Must ha' suiter'd the Lubberly Boobies.
Enter a Soldier, who runs and kisses her.
Dear Joany,
My Hony.
What hast thou forgot me? O---How the
Wench Stares!
I'm Thomas the Thresher, just come
from the Wars.
I'm still thy Sweet-heart; and by
Cannons and Mortars,
I'le take thee by Storm; and
I'll beat up thy Quarters.
He. By Cannons
and Mortars,
I'll beat up thy Quarters.
She. Hold, Thomas! you may not
Nay, Thomas you sha'
not.
She. Go, I hate you, I vow;
You look,
and you talk like a Gentleman now.
Come, off with this
Geer,
And d'on the Reparel, that once you did wear.
Go, I hate you, I vow.
You look, and you talk like
a Gentleman now.
He. Well since the War's over, my
Brav'ry shall down.
Off goes the brave Soldier, on
goes the plain Clown.
[He pulls off his Red Coat, Throws
down his Arms and his Wig, and appears, in a Moment, drest like a
Country Fellow; she leers on him all the while, and then at last
runs and kisses him.
She. Oh now: how I like thee!
Oh now I'm thy own!
Thou art Handsomer now,
And finer, I vow,
Than all the spruce Gentry and
Boars in our Town.
Both Merrily. Thus now we agree.
Let all do like me, <She, Like thee>.
To keep their Necks free.
Leave threshing of Jackets,
and get 'em all Wives;
Then thresh in their Barns,
with a thump, thump, thump;
Then thresh in their Barns,
and lead all merry Lives.
<NOTE: The next song follows immediately after this one>.
[ Return to Top ]
First line: O rareeshow brave show [Who see my fine show]
Source Edition: Europe's Revels (1697), 1.1, pp.11-2.
First performed: November (?) 1697 (Danchin)
UMI(2) reel no.: 796:17
Author: Peter Anthony Motteux
Composer: John Eccles ( nwc)
Performer/s: Mr. Laroche
Source/s of Music: Recorded in Day and Murrie, p.306, n.2519 [Music] Wit and Mirth (1699), pp.316-7 (UMI(2) 1880:18) et al. First in This Dialogue...(1698), no.6 (not on microfilm).
Text of song:
<NOTE: This song follows immediately after the previous one>.
Enter a Young Savoyard with a Rareeshow.
O Rareeshow! brave
Show!
VVho see my fine Show?
[He lays down his Show, opens it and shows it, singing first a Savoyard Song.
Here be d'Inglish and French to eatch oder most civil,
Shaka Hand, aud be Friends, and hug like de Deevel
O Rareeshow &c. [He turns the Motion at every Burthen.
Here be de Savoyards a trudgin tro France,
To sweep
a de Shimny, to sing and to dance.
O Rareeshow, &c.
Here be de Great Turk, and de Great King of no Land;
And dere be some gallop from Hungary and Poland.
O Rareeshow, &c.
Here's de brave English
Beau for de Packet Bot tarries,
To go make his Campain,
with his Taylor at Paris.
O Rareeshow, &c.
Here be d'honest Capitain a cursing de Peace.
Here's anoder disbanding his Coach and his Miss.
O Rareeshow, &c.
Here be d'English
Ship fetch Plenty and Riches.
And dere de French Caper
a mending his Breeches.
O Rareeshow, &c.
Here be de Grumbler set out Lights and dissemble,
And dere be de Mob make 'um squitter and tremble.
O Raree Show, &c.
Here be de Sea Capitain a reeling
ashore,
Here's one spend all his Pay, and boarding
a Whore.
O Raree Show, &c.
Here be
de brave Trainband a drinking Carouses,
And dere be de
Soldiers a storming deir Spouses.
O Rara Show! brave
Show!
Who see my fina Show? [Sings the Savoyard's
Ditty, and Exit.
<NOTE: The next song follows immediately after this one>.
[ Return to Top ]
First line: Rejoice the world has rest
Source Edition: Europe's Revels (1697), 1.1, pp.12-3.
First performed: November (?) 1697 (Danchin)
UMI(2) reel no.: 796:17
Author: Peter Anthony Motteux
Composer: Set by John Eccles, but music not extant (?)
Source/s of Music: Not recorded in Day and Murrie
Text of song:
<NOTE: This song follows immediately after the previous one>.
The Grand Chorus.
Rejoyce, rejoyce, the World has Rest,
William
returns, and all are blest.
He comes, he comes, the best
of Kings;
More wellcome than the Peace he brings.
Run to meet him,
Haste to greet him.
In lofty Notes sound William's Praise!
Sing
gentle Peace in softest Lays!
Hail! Ye great Blessings
of Mankind!
Glorious William! gentle Peace!
Live and reign for ever join'd.
<NOTE: The next song follows immediately after this one>.
[ Return to Top ]
First line: Come let us revel drink and sing
Source Edition: Europe's Revels (1697), 1.1, pp.13-4.
First performed: November (?) 1697 (Danchin)
UMI(2) reel no.: 796:17
Author: Peter Anthony Motteux
Source/s of Music: Not recorded in Day and Murrie
Text of song:
<NOTE: This song follows immediately after the previous one>.
Words for a single Song on the Kings Return. Design'd for a Private Performance.
Come,
let us revel, drink, and sing,
We have a Peace, we have
our King,
Now, Britain, thou'rt a happy Nation.
Thy Lord, whose Toyls the World have freed,
That
like a Chaos disagreed,
May rest, and view his new Creation.
There's nothing left for thee to do,
But to
thy self, thy self be true,
And joyful homage pay him.
Thou'rt lov'd, admird, and fear'd abroad;
Rebellion's quell'd, and Faction's aw'd:
Command the World while you obey him!
See!
Britain's happy Sons rejoyce!
Now Heav'n and
Peace confirm our Choice.
We're happy all,
The great, the Small,
The Old, the Young,
The Weak, the Strong,
The Poor who wants,
The Rich who grants,
The Saint who cants,
The Rake who rants,
The thoughtless Squire, the
thinking Wit,
The trusted Beau, the trusting Cit;
The Clown, the Lawyer, the Tarpawlin,
And ev'ry
Sect, and ev'ry Calling.
All think of new Blessings,
new Plenty will reign,
The Richer will save, and the
poorer will gain,
The Toper in Claret will find all his
Wants,
And the Clown in right Nants,
Will
whip off his Noggin;
The Matron her cold Tea will sip,
The Saylor his Punch and his Flip,
And the Bawd
her flaming Snapdragon.
Thus all hearts are eas'd,
And new Joys on us call;
For his own private Good
each of us is pleas'd,
And the King for the good
of us all.
[ Return to Top ]
First line: Great Jove look down and pity the distressed
Source Edition: Europe's Revels (1697), song not printed in play.
First performed: November (?) 1697 (Danchin)
UMI(2) reel no.: 796:17
Author: Peter Anthony Motteux
Composer: Mr. Morgan
Performer/s: Mrs. Lindsey
Source/s of Music: Recorded in Day and Murrie, p.231, n.1200 [Music] Score is in A Collection of New Songs, 1697, no.1, held in the British Museum. Score unavailable to compiler.
Text of song:
Lyrics unavailable to compiler.
[ Return to Top ]
First line: Rebellious discord 'tis in vain
Source Edition: Europe's Revels (1697), song not printed in play.
First performed: November (?) 1697 (Danchin)
UMI(2) reel no.: 796:17
Author: Peter Anthony Motteux
Composer: Mr. Morgan
Performer/s: Mrs. Cross
Source/s of Music: Recorded in Day and Murrie, p.322, n.2788 [Music] Score is in A Collection of New Songs, 1697, no.3, held in the British Museum. Score unavailable to compiler.
Text of song:
Lyrics unavailable to compiler.
[ Return to Top ]
First line: What would Europa whose shrill cries
Source Edition: Europe's Revels (1697), song not printed in play.
First performed: November (?) 1697 (Danchin)
UMI(2) reel no.: 796:17
Author: Peter Anthony Motteux
Composer: Mr. Morgan
Performer/s: Richard Leveridge
Source/s of Music: Recorded in Day and Murrie, p.372, n.3673 [Music] Score is in A Collection of New Songs, 1697, no.2, held in the British Museum. Score unavailable to compiler.
Text of song:
Lyrics unavailable to compiler.
[ Return to Top ]
First line: Slaves to London I'll deceive you
Source Edition: Love's a Jest (1696), 1.1, pp.1-2.
First performed: June 1696 (Danchin)
UMI(2) reel no.: 1153:6
Author: Peter Anthony Motteux
Composer: Bernard Martin Berenclow (also attrib. to Jeremiah Clarke) ( nwc)
Source/s of Music: Recorded in Day and Murrie, p.333, n.2993 [Music] Wit and Mirth...Second Edition, Volume Three (1707), pp.194-5 (CT(1) 8822:03) et al.
Text of song:
Enter Gaymood Singing: A Servant with him:
Gay. Slaves to London, I'll deceive you.
[Sings.]
<speaks> E'gad I've as
good a voice as most Composers!
Prethee sing it me once
more, that I may have it right.
Servant Sings.
A SONG.
I.
Slaves
to London, I'll deceive you;
For the Country now
I leave you.
Who can bear, and not be mad
Wine so dear, and yet so bad?
Such a noise, an Air so
smoaky,
That to stun yee, This to choak yee,
Men so selfish false and rude,
Nymphs so young, and yet
so lewd?
II.
If we play, we're
sure of losing;
If we love, our Doom we're chusing.
At the Playhouse tedious sport,
Cant in City, Cringe
at Court,
Dirt in streets, and dirty Bullies,
Jolting Coaches, Whores and Cullies,
Knaves and Coxcombs
ev'ry where.
Who that's wise wou'd tarry
here?
III.
Quiet harmless Country
Pleasure
Shall at home engross my Leisure.
Farewell, London, I'll repair
To my native Country
Air:
I leave all thy Plagues behind me---
But at home my wife will find me?
O yee Gods! 'Tis
ten times worse!
London is a milder Curse.
[ Return to Top ]
First line: Song has no lyrics
Source Edition: Love's a Jest (1696), 1.1, p.13.
First performed: June 1696 (Danchin)
UMI(2) reel no.: 1153:6
Author: Peter Anthony Motteux
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Airy. Were you before your Glass you'd find it truth: but a Kiss or two will make you incomparable. Dear lovely Sweetness.
Kit. Oh; no, no, no, no; no kissing at all.
[She sings; he presses till he kisses her.
[ Return to Top ]
First line: Song has no lyrics
Source Edition: Love's a Jest (1696), 2.1, p.16.
First performed: June 1696 (Danchin)
UMI(2) reel no.: 1153:6
Author: Peter Anthony Motteux
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Sir Top. <...> methinks I'm a dancing the New Vagaries.
[Sings part of that Tune, as he goes to kiss the women, who seem unwilling.
<NOTE: Contextually it would seem that he is humming a dance tune rather than singing unrecorded lyrics>.
[ Return to Top ]
First line: From Aberdeen to Edinburgh [I trudged it with my bairn]
Source Edition: Love's a Jest (1696), 2.1, p.18.
First performed: June 1696 (Danchin)
UMI(2) reel no.: 1153:6
Author: Peter Anthony Motteux
Composer: Samuel Ackroyde
Performer/s: Mrs. Hudson
Source/s of Music: Recorded in Day and Murrie, p.224, n.1076 [Music] Playford, Henry, Delicae Musicae...Second Book of Second Volume (1696), pp.25-6 (not on microfilm). Score unavailable to compiler.
Text of song:
Sir Tho. Now you shall hear a Song set by my Daughter's Music-master.
Scotch SONG.
<I.>
From
Aberdeen to Edenbrough
I trudg'd it with my Bearn,
And thence to London Town did go,
News of my Love
to learn.
II.
And now the bonny
Lad is come
To Royal Willy here,
So I'se
e'en gang contented home,
Sin I have got my dear,
&c.
Ch. Pray, how does your Lordship like the composing?
L. Lov. I like it extremely, Madam.
[ Return to Top ]
First line: Oh the little house that lies under the hill
Source Edition: Love's a Jest (1696), 2.1, p.18.
First performed: June 1696 (Danchin)
UMI(2) reel no.: 1153:6
Author: Peter Anthony Motteux
Source/s of Music: Not recorded in Day and Murrie
Text of song:
<NOTE: This song follows immediately after the previous one>.
Sir Top. Like it! Why, there's not a word of drinking in't. Odsooks one merry Drinking Catch is worth a hundred on't; as, Oh the little House that lies under the Hill! Thrilo, lilo, lilo, lilo, liloh! [Sings.
[ Return to Top ]
First line: Shou'd I not lead a happy life
Source Edition: Love's a Jest (1696), 2.1, pp.18-9.
First performed: June 1696 (Danchin)
UMI(2) reel no.: 1153:6
Author: Peter Anthony Motteux
Composer: John Eccles
Performer/s: Messrs. Reading and Lee
Source/s of Music: Recorded in Day and Murrie, p.329, n.2922 [Music] Playford, Henry, Deliciae Musicae...Second Book of Second Volume (1696), pp.16-20 (not on microfilm). Score unavailable to compiler.
Text of song:
<NOTE: This song follows immediately after the previous one>.
Sir Tho. Well, here's something will fit you to a Hair.
Enter Mr. Redding in a Smith's Habit, a Bottle in his hand. He sings; seemingly drunk.
SONG.
Man. Shou'd I not lead a happy
Life,
Were but my Bottle like my Wife!
My
Bottle empties when I swill,
But my Wife swells up when
we bill.
Wou'd (when I drink) my Bottle fill,
And (when I kiss) my Wife not swell,
All wou'd
be well:
I wou'd so bill,
So fill, so
swill,
That daily gaily I wou'd spend my Life,
Sucking, filling,
Hugging, billing,
My merry Bottle and my Wife.
[Drinks; then throws away his Bottle, and takes up a Quart Pot.
[ Return to Top ]
First line: Still at your pot [You drunken sot]
Source Edition: Love's a Jest (1696), 2.1, pp.19-20.
First performed: June 1696 (Danchin)
UMI(2) reel no.: 1153:6
Author: Peter Anthony Motteux
Performer/s: Mr. Lee
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Enter Mr. Lee drest as the Smith's Wife and big-bellied.
DIALOGUE.
Wom. Still at your Pot,
You drunken Sot?
You till I come
Will
ne're go home;
And when you're there,
You curse and swear;
Then prove a Bed
A lump
of Lead.
Man. D' you think, you Scold,
I'll be controul'd?
No more he said:
Or at your Head,
As I'm a Sot,
Souse
flys the Pot!
But first, I think,
I'll
save the Drink. [Drinks.
Wom. Hold, leave a sup,
Don't drink all up.
Man. Here, taste and know
Why I'll not go. [He gives her the Drink, she drinks.
Wom. How sweet! oh how it chears my heart!
O dear!
methinks I suck my Mother.
Here's t' you, my
Love! have t' other Quart,
And then---
Man. ---What then?
Wom. ---And then another.
Both. Come, now we're Friends, and all is right.
Man. Drink, drink all day:
Wom. ---But love at night.
Both. Drink, drink all day, but love at night. [Both going
off lovingly.
Sir Top. Now this is something like a Tanzy: here Friends, there's a couple of Shillings for you to drink. [Throws down 2 shillings.
Ch. Fye, Sir Topewel, you affront 'em, and us too; they never sing under a couple of Guineas.
[ Return to Top ]
First line: Song has no lyrics
Source Edition: Love's a Jest (1696), 4.1, p.39.
First performed: June 1696 (Danchin)
UMI(2) reel no.: 1153:6
Author: Peter Anthony Motteux
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Gaymood and Christina sit, Airy comes forwards, seemingly fuddled; humming a Song and combing his Wig; then stops and speaks as to a Servant.
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First line: Never let her be your wife
Source Edition: Love's a Jest (1696), 4.1, p.41.
First performed: June 1696 (Danchin)
UMI(2) reel no.: 1153:6
Author: Peter Anthony Motteux
Lyrics: Familiar catch? (this one line also appears in Pix's Innocent Mistress--MPTIM1 ).
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Ai. Gad you're witty! Never let her be your Wife. [sings.]<speaks> Now you talk of Snuff, do you take any? <...>
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First line: Throl lollolol
Source Edition: Love's a Jest (1696), 4.1, p.41.
First performed: June 1696 (Danchin)
UMI(2) reel no.: 1153:6
Author: Peter Anthony Motteux
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Ai. But not tearing of 'em, to get you some Indian House, on pretence to give you better. Throl lollolol! [hums a Song, and tears the Fan.
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First line: Hark you madam can't I move you
Source Edition: Love's a Jest (1696), 4.1, pp.41-2.
First performed: June 1696 (Danchin)
UMI(2) reel no.: 1153:6
Author: Peter Anthony Motteux
Composer: John Eccles
Performer/s: Mr. Bowman and Mrs. Bracegirdle
Source/s of Music: Recorded in Day and Murrie, p.235, n.1271 [Music] Playford, Henry, Deliciae Musicae...Second Book of Second Volume (1696), pp.2-6 (not on microfilm). Score unavailable to compiler.
Text of song:
Ch. What, I suppose you've a Mind I should ask you to Sing?
Ai. Why the Devil don't you then? Gad, I fancy you are as fond of being ask'd as I. Why, you sing almost as well as I do. Come, let's sing the last Dialogue our Master set.
DIALOGUE.
Man. Hark you,
Madam, can't I move you?
why the Devil do you run?
Ha'n't I told you twice I love you?
come
then, kiss me, or I'm gone.
Wom. Foh! I hate a Rakish
Lover,
Do not discompose my Dress:
Good familiar
Spark, give over!
how on Quality you press!
Man. From the Countess to the Cit,
ev'ry Beauty for
me dies:
Demme, why should I submit
to doat
on this Woman's Eyes!
Wom. Fifty Beaux expire for
me,
ogling, sighing all the Day;
Yet not
one dares be so free,
tho they let me win at Play.
Man. Sure we Rakes can better move you;
see this
Shape and Leg, my Dear!
In one Minute more I'll love
you
than those Fops can in a Year.
Wom. But
your Love will soon be over.
Man. Then you'll get
a fresher Lover.
Come, to Bed! I long t'embrace.
Wom. Leave my Hand!
Man. ---Then lend your Face!
First the Hand, and then the Face,
Then the Breast,
And then the rest,
Then the Breast, and then---
Wom. ---The Face. [Gives him a slap 'othe Face.
Man. 's Death, I've a good mind to beat you;
No; to vex you more, I'll go.
Thus I puff you---I'll
go say,
I refus'd your Love to Day.
Wom.
Then I'll say how I did treat you.
Both together.
Man. None will believe you cou'd do so.
Wom.
All will believe I us'd you so.
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First line: Mortals learn your lives to measure
Source Edition: Love's a Jest (1696), 4.1, pp.52-3.
First performed: June 1696 (Danchin)
UMI(2) reel no.: 1153:6
Author: Peter Anthony Motteux
Composer: John Eccles ( nwc)
Performer/s: Mrs. Hudson
Source/s of Music: Recorded in Day and Murrie, p.289, n.2219 [Music] Wit and Mirth...Volume Four (1706), pp.289-90 (CT(1) 10355:17). First appeared in Playford, Henry, Deliciae Musicae...Second Book of Second Volume (1696), p.1--not on microfilm.
Text of song:
Ra. Give me leave to convince you now of what I said; but first be pleas'd to let your Woman give us a Song that may divert you from more serious Thoughts <...> Thus Love begins by Fooling, till we Fool our selves; and what is worse, we know it, yet go on.
A RONDEAU.
Mortals, learn your Lives to measure,
Not by
length of Time, but Pleasure.
Now the Hours invite comply;
While you idly pause, they fly:
Blest, while a
brisk pace they keep,
But in Torment when they creep.
Mortals, learn your Lives to measure,
Not by length
of Time, but Pleasure.
Soon your Spring must have a Fall:
Losing Youth, is losing all.
Then you'll ask,
but none will give,
And may linger, yet not Live.
Mortals, learn your Lives to measure,
Not by length
of Time, but Pleasure.
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First line: Here's my heart and here's my hand too
Source Edition: Love's a Jest (1696), 5.1, p.60.
First performed: June 1696 (Danchin)
UMI(2) reel no.: 1153:6
Author: Peter Anthony Motteux
Source/s of Music: Not recorded in Day and Murrie
Text of song:
lb. <...> What say you? Come, as the new Song has it, Here's my Heart, and here's my Hand too; all that's mine shall be thine, Body and Goods at thy Command too. [Sings. Odsbobs, now I'm in, you shall see me jig it away: I've got Musicianers just by: Soho Fidlers! play me a Lesson; come, Roger a Coverly, a Jig, any thing, play your May-day Tune, Tom Crowder.
Enter Fidlers, and Ilbred dances.
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First line: Ah give me more give me more
Source Edition: Love's a Jest (1696), 5.1, p.63.
First performed: June 1696 (Danchin)
UMI(2) reel no.: 1153:6
Author: Peter Anthony Motteux
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Enter Gaymood singing, Railmore, and Plot.
Ga. Ah! give me more, give me more, &c. Heyday! Gravity has doubled her Guards here to day! <speaks> O'my word they both look as sullen as a new-married Couple, that find they've cheated one-another.
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First line: He hugs it and tugs it [As a man does his wife]
Source Edition: Love's a Jest (1696), 5.1, p.71.
First performed: June 1696 (Danchin)
UMI(2) reel no.: 1153:6
Author: Peter Anthony Motteux
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Ga. No, 'tis past already, d'you see: How will you help yourselves? The Gudgeon that's caught in the hook may flounce, and flounder, but that wont do. He hugs it, and tugs it as a Man does his Wife. [Sings this.]
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First line: Pretty miss let's talk together
Source Edition: Love's a Jest (1696), 5.1, pp.78-9.
First performed: June 1696 (Danchin)
UMI(2) reel no.: 1153:6
Author: Peter Anthony Motteux
Composer: John Eccles
Source/s of Music: Recorded in Day and Murrie, p.320, n.2750 [Music] Playford, Henry, Deliciae Musicae...Second Book of Second Volume (1696), pp.21-5 (not on microfilm). Score unavailable to compiler.
Text of song:
Ga. Pox, you grow too serious on a sudden, man; had you not better make Love in Jest still? The very Boy and Girl in the House will teach you to keep to that. Oh, here they are. ---Come Sing the Dialogue my pretty Rogues!
A Dialogue between a little Boy and Girl.
Boy. Pretty Miss,
let's talk together,
I play truant to come hither,
To go with you up and down,
I'de leave all
the Boys in Town.
Girl. My dear Jemmy, how d'you
do?
I'd leave all the Girls for you, Throws her Baby
away.
Nay, my finest Baby too.
Boy. Come,
let's play at Man and Wife
Girl. Fye, you know that's
full of strife.
Boy. No, we'll kiss and hug each
other,
Like my Father and your Mother.
Girl.
Ay, that's better, come, begin,
When you're out,
I'll put you in.
Boy. Pray, be not so shy, my Deary.
[Amorously.
Girl. Keep your distance, or I'le tear
you! [Scornfully.
Boy. Are thy Bubbies coming,
Child?
Let me see!
Girl. ---Oh, Pray.
Boy. ---Be mild. [Kisses her,
None can see us,
do not fear.
Now a little more, good Betty.
Girl. Fye, you make me blush I swear;
Yet methinks 'tis
very pretty.
Boy. Well, we'll Marry e're 'tis
long.
Girl. You're too little.
Boy. ---You're
too young.
Both. Oh! I cannot, will not tarry.
Quickly, quickly let us Marry,
For I cannot tarry
long.
Ga. Very well! but I find they are seduced as well as the rest, by the evil Spirit of Matrimony.
Ra. What, can't our Example make a Convert of you?
Ga. No, faith; I shou'd be afraid of the Matrimonial Curse, to eat without stomach, walk about without ease, sing without mirtly, go to bed without desire, enjoy without pleasure, lie without Rest, be Cuckolded without mercy, laught at without pity, and plagu'd without end.
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First line: You've been with dull prologues
Source Edition: The Island Princess; or, The Generous Portugese (1699), prologue, sig.a4r-v.
First Performed: beginning February 1699 (Danchin)
UMI(2) reel no.: 325:7
Author: Peter Anthony Motteux
Performer/s: Richard Leveridge
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Enter Mr. Leveridge, who sings the following words.
I.
You've been with dull Prologues here banter'd so
long,
They signifie nothing, or less than a Song.
To Sing you a Ballad this time we thought fit;
For sound has oft nick'd you, when Sense cou'd not hit.
Then Ladies be kind,
And Gentlemen mind!
<Column A--see note> Wit-Carpers,
<Column
B> Mobb'd Sinners,
<A> Play-Sharpers,
<B> In Pinners,
<A> Loud
Bullies,
<B> Kept-Toppers,
<A>
Tame Cullies,
<B> Bench-Hoppers,
<A>
Sowre Grumblers,
<B> High-Fliers,
<A> Wench-Bumblers,
<B>
Pit-Plyers,
<A> Give Ear, ev'ry Man!
<B> Be still, if you can!
You're
always in Mischief for leading the Van.
2.
Ye Side-box Gallants, whom the Vulgar call Beaux,
Admirers of---Self, and nice Judges of---Cloaths,
Who, now the War's over, cross boldly the Main,
Yet
ne're were at Sieges, unless at Compiegne.
Spare
all, on the Stage,
Love in every Age.
<A>
Young Tattles,
<B> Young Graces
<A>
Wild Rattles,
<B> Black Faces,
<A>
Fan-Tearers,
<B> Some faded,
<A>
Mask-Fleerers,
<B> Some jaded,
<A>
Old Coasters,
<B> Old Mothers,
<A>
Love Boasters,
<B> And Others,
<A>
Who set up for Truth!
<B> Who've yet
a Colts-Tooth,
See us act that in Winter, you'd all
act in youth,
3.
Ye Gallery
haunters, who Love to Lie Snug,
And munch Apples or Cakes
while some Neighbour you hug
Ye loftier Genteels, who
above us all sit,
And look down with contempt on the
Mob in the Pit!
Here's what you like best,
Jig, Song, and the rest.
<A> Free
Laughers,
<B> Sly Spouses
<A>
Close Gaffers,
<B> With Blowzes,
<A>
Dry Joakers,
<B> Grave Horners,
<A>
Old Soakers,
<B> In Corners,
<A>
Kind Cousins
<B> Kind No-Wits,
<A>
By Dozens,
<B> Save-Poets,
<A>
Your Custom don't break!
<B> Clap till
your hands ake;
And though the Wits damn us, we'll
say the Whims take.
<NOTE: The hemistichs marked A and B are laid out as two columns in the quarto,separated by a rule. It is difficult to determine if the song reads A, B, A, B or A, A, B, B. If they are to be read A, B, A, B, then columns A and B should probably both appear on the same line, i.e."Wit-Carpers, Mobb'd Sinners,/Play-Sharpers, In Pinners">.
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First line: This glorious day let pleasures flow
Source Edition: The Island Princess; or, The Generous Portugese (1699), 2.4, pp.13-4.
First Performed: beginning February 1699 (Danchin)
UMI(2) reel no.: 325:7
Author: Peter Anthony Motteux
Composer: Set by Daniel Purcell but part of the music not extant (?--see note below)
Source/s of Music: Part of the following recorded in Day and Murrie, p.170, n.131 [Music] Score is in Songs in...Massianello...[and] The Iland Princess (1699), f.4 (not on microfilm). Score unavailable to compiler.
Text of song:
An Entertainment of Music and Dancing.
Several
Shepherds advance and express their Joy.
The Words were fitted to the Music, which is charmingly compos'd by Mr. Daniel Purcel.
Whatever is mark'd thus (") is left out in the singing.
Mr. Leveridge. Shepherd.
This glorious Day, let Pleasures flow;
Now Love and Hymen
jar no more:
Ye Sports, appear, let Sorrow cease below!
Hither repair, the Golden Age restore.
Let Mortals
share the Blessings of the Skies,
See Jove for ever cease
to rove,
And own, tho' Nuptial Fewds arise,
No Joys can Vye with Lawful Love.
Mr. Freeman.
A Shepherd. Happy he who wisely
chose
To
taste of Love without his Woes.
<speaks--see S/D>
"Happy She whose Charms improve
"The soft Delights
of Harmless Love.
CHORUS. Change may raise a wanton
Fire,
But Truth can best improve Desire,
And Kindles, never to expire.
M. Pate and Mr.
Leveridge. Two Shepherds.
Cease, ye Rovers, cease to
Range
Pleasure revels least in Change.
Wandring
still, and still uneasy,
Nought can fix ye, nought can
please ye;
While True Love, like Heav'nly Joys,
Never dies, and never cloys.
A Shepherdess.
<speaks> "From drooping Minds let Sorrow fly,
"Joy must reign, and Anguish die.
"Souls
who grieve for Coy Denying,
"Hearts now raging, Wretches
dying,
"Know, that Lovers who pursue,
"Soon
or late the Fair subdue.
"Blame your Fear when you
despair,
"Not the wishing dying Fair.
Mr.
Magnus's Boy. A Shepherd. All the Pleasures, Hymen brings
Lawful Sweets, and chast Desires,
All the Pleasures
Hymen brings,
Flow from ever-living Springs,
And never-dying Fires.
Mis. Linsey. A Shepherdess.
The Jolly Swains
That were roving o're the Plains
From all Regions hither fly,
To claim kind Hymen's
gentle Tye.
With their wanton Motions courting
Some lovely Maid
Whose Eyes persuade
To soft Delights, and am'rous Sporting.
Enter Swains and Shepherdesses, who dance,
Grand CHORUS.
Love's Flame divinely burns:
The Golden Age returns.
Jove, Juno, and Cupid, and Hymen agree,
All Hearts
thus are bless'd, and less happy when free.
<NOTE: There is a broadside song in WING (M2962A) recorded as "A Song in the 2nd Act of The Island Princess" which is not on microfilm. It is likely to be this song. Score unavailable to compiler>
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First line: Lovely charmer dearest creature
Source Edition: The Island Princess; or, The Generous Portugese (1699), 3.3, p.17.
First Performed: beginning February 1699 (Danchin)
UMI(2) reel no.: 325:7
Author: Peter Anthony Motteux
Composer: Daniel Purcell ( nwc)
Source/s of Music: Recorded in Day and Murrie, p.284, n.2128 [Music] Twelve New Songs (1699), p.12 (UMI(2) 123:7).
Text of song:
Qui.
Sing me a Song, then leave me---and if Ruidias
Sould
come and beg admittance, introduce him.
But stay---Will
Vertue warrant this admission?
Surely, for once it may,
in such an Exigence---
We must consult about this Turn
of Fortune.
[Qui. seats her self on a Couch.
A SONG; by the Page.
Lovely Charmer,
dearest Creature,
Kind Invader of my heart,
Grac'd with ev'ry gift of Nature,
Rais'd
with ev'ry grace of Art!
Oh! cou'd I but make
thee love me,
As thy Charms my heart have mov'd,
None cou'd e're be blest above me,
None
cou'd e're be more belov'd.
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First line: Hold John e're you leave me i'troth I will know
Source Edition: The Island Princess; or, The Generous Portugese (1699), 4.1, pp.21-2.
First Performed: beginning February 1699 (Danchin)
UMI(2) reel no.: 325:7
Author: Peter Anthony Motteux
Composer: Richard Leveridge
Performer/s: Messrs. Pate and Leveridge
Source/s of Music: Recorded in Day and Murrie, p.242, n.1385 [Music] Songs in...Massianello...also Songs in The Iland Princess (1699), ff.1-4 (not on microfilm). These are fragments held at University of Edinburgh and NY Public Library. Score unavailable to compiler.
Text of song:
The Scene draws and discovers Armusia lying on a bank in a Grove of Orange-Trees. Emanuel by him.
This Dialogue is sung to him by a Clown and his Wife. Set by Mr. Leveridge, and Sung by him and Mr. Pate.
Wife. Hold, John,
e're you leave me, i'troth I will know
Whither
so smugg'd up thus early you go?
With clean Hands
and Face,
Your best Band with a Lace,
Your
Sunday Reparel when you shou'd go Plough,
So trim
none wou'd think you a married Man now.
Hold, John,
e're you leave me, itroth I will know
Whither so
smugg'd up thus early you go?
Man. Go, Joan, I wo'n't
tell you: To lead a sweet Life
I've learnt of my
Betters to steal from my Wife.
Mayhaps with my Neighbour
I'll dust it away,
Mayhaps play at Put, or some other
such Play.
Wife. I guess at what game you'd be playing
to day.
Man. Don't plague me. The Devil's in
Women I think.
Go, Joan, I tell thee I'm going to
drink?
Come, prithee, don't think that I've got
no more Grace:
Nay go, or I'll gi' thee a Dowse
in the Face.
Wife. I'll find then some body to strike
in your Place.
Why should you deny me? I never did you.
(Weeping.
Because I an't new, you won't give
me my due,
But Troth if you wo'not, another shall
do.
Man. If thus you e're do,
Oh! how
I'll belabour your Booby and you. (Threatning.
Wife.
If thus you e're do,
Oh how I'll belabour your
Trollop and You.
Both. Oh how I'll belabour your
Booby <Trollop> and you, and you.
Wife.
Well, John, do not go, (Wheadling and crying.
And I wo'not
do so,
Do not go, my dear Johny,
My Precious,
my Hony. (She kisses him.
Oh pray do not go,
And I wo'not do so.
Man. Adsooks by that Buss I'm
inveigled to stay,
Come, Joan, come and spoil me from
going astray.
CHORUS.
Wife.
Come give your best Band.
Man. Here take my best Band.
Both. Now, give me thy Hand.
Man. Thus 'tis
with you your Women.
Wife. Thus 'tis with you Men.
Both. Whene're you fall out 'tis to fall in again.
<NOTE: In line 26 the Man sings "Booby", the Woman "Trollop">.
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First line: Hear thou by whom the rattling thunder's hurl'd
Source Edition: The Island Princess; or, The Generous Portugese (1699), 4.2, pp.29-30.
First Performed: beginning February 1699 (Danchin)
UMI(2) reel no.: 325:7
Author: Peter Anthony Motteux
Composer: Set by Daniel Purcell but music not extant (?)
Performer/s: see below
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Bra.
To clear your doubts we'll move the angry Powers
By solemn Incantation.
An Incantation set by Mr. D. and Purcell
<speaks?> "Hear
thou by whom the rattling Thunder's hurl'd!
"Hear,
Parent Sun, bright Eye, and Monarch of the World.
Mr. Bowen. A Bramin.
Hear, gentle Moon, pale Queen
of Night,
And ye refulgent Orbs of Light,
Great Court of Heaven so ample and so high,
And all ye
swarming Commons of the Sky.
CHORUS.
O Skies! O Sea! O Earth! on all Your Pow'rs call
E're the Blasphemers fall,
Oh hear our solemn
call.
Mr. Freeman. Another Bramin.
Hear,
ye friendly earthly Powers,
Gods of kindly Fruits and
Flowers,
Who, unseen, delight to trip
Where
Birds flutter, hop, and skip,
Where there warble, chirp
and coo,
Where in Whispers Zephirs woo,
Where
poor Eccho sweetly grieves,
And remurmurs thro' the
Leaves.
Mr. Pate. Another Bramin.
Rouse,
ye Gods of the main!
Take Vengeance on those who your
Altars prophane.
Hush no more the loud Storms! Command
them to blow,
Till foaming with Rage the Waves roar as
they flow,
<speaks?> "While they heave
and they swell,
'Toss the Slaves to the Skies, and
then plunge 'em to hell.
Infernal Pow'rs,
grim sullen sprights
Who fill our Souls with dire affrights!
By all the dismal yell,
And horrors of your hell,
Your dreadful Pleasure tell.
End with the Verse, Hear ye Gods of the main, &c.
<NOTE: See stage direction to PMTIP2 on lines in inverted commas being "left out in the singing". Does this continue to apply? This stage direction is repeated in PMTIP7. Next song follows immediately after this one>.
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First line: Oh cease urge no more the god to swell my breast
Source Edition: The Island Princess; or, The Generous Portugese (1699), 4.2, pp.29-30.
First Performed: beginning February 1699 (Danchin)
UMI(2) reel no.: 325:7
Author: Peter Anthony Motteux
Composer: Set by Richard Leveridge but music not extant (?)
Performer/s: Mr. Leveridge
Source/s of Music: Not recorded in Day and Murrie
Text of song:
<NOTE: This song follows immediately after the previous one>.
Gov. The Gods are Sullen, and displeased. But see
The Ancient Seer, who oft declares their will.
Advance, wise Bramin, while by Pow'r of sound,
We
Prompt some God, by Thee to 'inform a Doubting Monrach <sic>.
An Old Bramin, comes forwards and Sings,
The Enthusiastic SONG
Set, Sung, and Acted, by Mr. Leveridge.
Oh Cease, cease, urge no more the God
to swell my Breast!
The Mansion dreads the greater Guest.
But lo! he comes! I shake! I feel, I feel his Sway,
And now he hurries me along.
Then, Crouds, believe, and,
Kings, obey,
'Tis Heav'n inspires the Song.
Haste! To the Gods due Vengeance give.
Hark!
From their Seats they cry,
Who lets Blasphemers live,
Shall by Blasphemers die.
Haste, haste, due Vengeance
give.
<speaks?> "Let the Sound
"Eccho all around.
Haste, haste, due Vengeance
give.
Beware! Ten thousand, thousand threatning Ills
I see!
Invasions! Wars! Plagues! Ruin! Endless Woes!
Ah wretched Isle, I weep for Thee,
Save, save thy
self, Resign the God's Blaspheming Foes.
Now, now
the Thunder roars.
The Earth now groans and quakes.
The rising Main a Deluge pours.
The World's
Foundation shakes.
Hell gapes? The Fiends appear!
Oh hold, ye angry Pow'rs, relent, or we dispair.
See, we fulfill
On your Foes your dreadful Will.
See the Throng
Hoot 'em, as they're dragg'd
along.
Now they tear 'em, now they dye;
All applaud, and shout for Joy.
Peace returns, all Nature
smiles,
Happy Days now bless our Isles,
Now
we laugh with Plenty crown'd,
Merry Sports and Love
go round.---
<speaks?> "The
Vision's o'er!---The God deserts my Brest.
"Hush!
gently bear me hence to Rest. [He is led off.
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First line: Rouse ye tuneful sons of art
Source Edition: The Island Princess; or, The Generous Portugese (1699), Epilogue (The Four Seasons; or, Love in every Age), p.39.
First Performed: beginning February 1699 (Danchin)
UMI(2) reel no.: 325:7
Author: Peter Anthony Motteux
Composer: Set by Jeremiah Clarke but music not extant (?)
Performer/s: see below
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Epilogue
The Four Seasons or Love in every Age. A Musical Interlude Set to Music by Mr. Jeremy Clarke. This Entertainment is perform'd at the End of the last Act, but was design'd for another Season, and another Occasion: And what is mark'd thus (") is omitted.
The Overture is a Symphony, lofty, yet gay: At the latter part, it changes to a flat adagio; to which mournful Movement Mr Leveridge The Genius of the Stage appears in a melancholic Posture, with attendants.
Genius. "Mourn, drooping Seat of Pleasures, mourn <...>
While a gay March is perform'd Apollo <Mr. Freeman> appears.
Apollo. Rouse, rouse, ye tuneful Sons of Art!
The Soul of Numbers and of Days,
Infusing Life in ev'ry
Part,
Appears, your fainting hopes to raise.
"Advance
in Crouds, soft Pleasures, sprightly Joys <...>
Revive, ev'ry Pleasure, and die, ev'ry Care!
Ye Ages of Life, and ye Seasons appear!
Show now,
that, as Love in all Ages can warm,
So Harmony here in
all Seasons can charm.
The Chorus repeat from
Revive, ev'ry Pleasure, and die ev'ry Care! &c.
<NOTE: The stage direction indicates that lines in inverted commas are omitted from the music. Next song follows immediately after this one>.
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First line: Must I a girl for ever be
Source Edition: The Island Princess; or, The Generous Portugese (1699), Epilogue (The Four Seasons; or, Love in every Age), p.40.
First Performed: beginning February 1699 (Danchin)
UMI(2) reel no.: 325:7
Author: Peter Anthony Motteux
Composer: 1. William Williams ( nwc); 2. Jeremiah Clarke ( nwc)
Performer/s: See below
Source/s of Music: Recorded in Day and Murrie, p.290, n.2230 [Music] Twelve New Songs (1699), pp.7-8; 13-6 (UMI(2) 123:7).
Text of song:
<NOTE: This song follows immediately after the previous one>.
While the Chorus repeat that verse, the Scene changes, and discovers the four Seasons, on four several Stages. The Genius and some of his Attendants withdraw.
Enter a Girl <Miss Campion> of Thirteen or Fourteen years old.
Girl.
Must I a Girl for ever be!
Will n'er my Mother marry
me!
They tell me I'm Pretty,
They tell
me I'm Witty:
But when I would Marry,
She cry's, I must tarry,
Must I a Girl for ever be!
Will ne're my Mother marry me!
Enter a Youth <Mr. Magnes's Boy>.
Youth.
Oh! Miss! The Spring is come again,
The pretty Birds
sing, bill, and cooe
All dance in Couples on the Green:
'Tis time we shou'd be doing too.
My Dear,
let's marry; then will you and I,
As Man and Wife
together ly.
Girl. Peace, naughty Thing! I heard
one say
That Marriage is no Children's Play.
Think you to have me for a Song?
Besides, they
tell me I'm too young:
Boy. No, now to wed betimes
is common:
When e're you marry, you're a Woman.
Come, I must have you, quickly too,
Girl. Fy, why
d'you make so much ado? (he kisses her.
Boy. Fy,
I'm asham'd! Fy, what d'you do?
Both repeat their last Line together.
Boy. Be quiet,
or I'll call my Mother.
Girl. Nay, prethee, let me
take another.
Both repeat their last Line together.
Boy. Another Kiss, and then---
Girl. What then?
Boy. Another, and another.
Come, never fear, you'll
quickly know,
Tho I am little, soon I'll grow.
Girl. Oh, no, no, no. Oh, no, no, no.
Boy. Oh let
us go. You'll find it so.
They repeat their last Line together for a Chorus.
<NOTE: The lyrics of the Williams composition differ from the fifth line onwards. The next song follows immediately after this one>.
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First line: Oh why thus alone must I pass the long day
Source Edition: The Island Princess; or, The Generous Portugese (1699), Epilogue (The Four Seasons; or, Love in every Age), p.41.
First Performed: beginning February 1699 (Danchin)
UMI(2) reel no.: 325:7
Author: Peter Anthony Motteux
Composer: Set by Jeremiah Clarke--but music not extant (?)
Performer/s: see below
Source/s of Music: Not recorded in Day and Murrie
Text of song:
<NOTE: This song follows immediately after the previous one>.
Enter a Country Lass <Mrs. Lindsey> with a Rake, as at Hay-making.
1.
"Oh
Why thus alone must I pass the long day!
"Were a
Gentleman by, 'twere sweet to make hay,
"And
on the Grass coupled to jig it away.
"I'll then
go sell all, ev'n my Rake and my Pail,
"To buy
a high Topping, and hugeous long Tail.
"Your Powder'd
wild Bores will then all come to woo,
"I'll learn
how to flaunt it, and quickly come to,
"And serve
a Town Husband, as other Wives do.
2.
"I hate a dull Clown who knows hardly what's what,
"Who shrugging and grinning stands twirling his Hat,
"Nor dares tell a Body what he wou'd be at.
"With
smoke and worse Liquor he sots and he Feasts,
"And
instead of his Mistress he fondles his Beasts.
"With
his hands in his Pockets he whistling goes by,
"Or
by me on a Hay-cock he snoring does lie,
"When the
Booby much better himself might employ.
<NOTE:According to stage direction this song would be omitted. The next song follows immediately after this one>.
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First line: 'Tis sultry weather pretty maid
Source Edition: The Island Princess; or, The Generous Portugese (1699), Epilogue (The Four Seasons; or, Love in every Age), pp.41-2.
First Performed: beginning February 1699 (Danchin)
UMI(2) reel no.: 325:7
Author: Peter Anthony Motteux
Composer: Set by Jeremiah Clarke--but music not extant (?)
Performer/s: see below
Source/s of Music: Not recorded in Day and Murrie
Text of song:
<NOTE: This song follows immediately after the previous one>.
Enter a Town-spark <Mr. Leveridge>.
Gent. 'Tis sultry Weather, Pretty Maid,
Come, let's retire to yonder shade.
(She stands bashfully hiding her face.
Pray, why so shy? Why
thus d'ye stand?
Sure 'Tis no Crime to touch
your hand.
Oh let me take a civil kiss!
(She Curtsies when he kisses her.
What harm is there
in doing this?
Fy, why d'ye cover thus your Brest?
One Favour more, and then I'm blest.
(She bashfully puts him off
Lass. Oh pray, Sir.
Nay, nay, Sir.
Oh fie, Sir.
Oh why,
Sir.
Why do you
Now pull me thus to you?
(Aside.) Oh what shall I say!
When a Gentleman suiters
'tis hard to say nay---
I'm e'en out of Breath;
Oh, dear! what d'ye do?
Good La! Is it thus that
you Gentlefolks woo!
Good, Sir, do not hold me.
Gent. Good Lass, do not fly.
Lass. What good can
I do you?
Gent. Come yonder, we'll try.
Lass. No, no; I can't find in my heart to comply.
<NOTE: The next song follows immediately after this one>.
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First line: Oh my poor husband for ever he's gone
Source Edition: The Island Princess; or, The Generous Portugese (1699), Epilogue (The Four Seasons; or, Love in every Age), p.42.
First Performed: beginning February 1699 (Danchin)
UMI(2) reel no.: 325:7
Author: Peter Anthony Motteux
Composer: Jeremiah Clarke ( nwc)
Performer/s: see below
Source/s of Music: Recorded in Day and Murrie, p.306, n.2509 [Music] Twelve New Songs (1699), pp.17-20 et al.
Text of song:
<NOTE: This song follows immediately after the previous one>.
Enter a Lusty Strapping Middle-ag'd Widow <Mr. Pate> all in Mourning. She weeps and blubbers.
Oh my poor Husband! For
ever he's gone!
Alas! I'm undone.
I sigh, and I moan.
Must I these cold Nights lie alone!
Alas! I'm undone---
I did what I list:
We kist, and we kist:
But his Health soon he mist,
And thro Business and Care he ceas'd to be gay;
And at last, poor Soul! he dwindled away,
We wrangled
And jangled
When in an ill mood,
Yet
often like Pigeons we bill'd and we coo'd.
'Tis
done.
Oh! he's gone
Alack, and alack
I must now for ever do Penance in Black.
Enter a Drunken Officer <Mr. Leveridge>, Reeling, he hickhups.
Offi. Why, Widow, why Widow! What makes thee so sad?
Art thou mad?
If one Husband is gone, there are
more to be had.
Come, I'll be thy Hony!---Leave keeping
a Pother,
One Man like one Nail serves to drive out another.
Wi. How! Talk so to me! What, think you I'd Wed?
'Tis scarce a Month yet since my poor Hony's dead.
Offi. A Month! 'Tis an Age. You're mad to delay.
Most Widows now chuse e're the Funeral Day.
Wi. Not I: I'll ne're do't. Fy, what would People say?
Offi. They'll say, you're a Woman: Come, away with
this Fan!
See! See!---here's a Shape!---here's
a Grace,---here's a Leg! here's a Man,
I'll
get thee with Twins, till a hundred and ten.
Wi. You
lie,---go, you'll talk at another rate then.
(She
pats him in a smiling way.
Offi. Then try me.
Wi. Leave fooling.
Offi. I'll do't by this
Kiss.
By this, this, and this!
I'll be
hang'd if I miss.
Wi. Oh should I do this!
Offi. Twill ease you of Pain.
Wi. Go, you're
a sad Man!
Offi. I'll kill thee with Kindness.
Wi. Ay, do if you can.
<NOTE: The next song follows immediately after this one>.
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First line: Hold good Mr. Fumble Fy what do your mean
Source Edition: The Island Princess; or, The Generous Portugese (1699), Epilogue (The Four Seasons; or, Love in every Age), pp.44-5.
First Performed: beginning February 1699 (Danchin)
UMI(2) reel no.: 325:7
Author: Peter Anthony Motteux
Composer: Set by Jeremiah Clarke but music not extant (?)
Performer/s: see below
Source/s of Music: Not recorded in Day and Murrie
Text of song:
<NOTE: This song follows immediately after the previous one>.
While four of five Bars are perform'd by a Thorough Base, enter an Old Gentleman, in an Old-fashion'd Dress, following a Young Lass, or Girl, and pushing a Youth from her. An Old Woman, in an Oldfashion'd Dress, comes and Thrusts him away from the Young Couple, The Old Woman sings like one without Teeth <Mr. Crossfield, Mrs. Lindsey, Miss Campion, The Boy>.
Old Wom. Hold good Mr. Fumble, Fy! What do your mean,
To court my my Grand Daughter? She's scarce yet fifteen.
And you H'usi'fe; why stay you? go get you to School.
Your Baby go dandle,
I'll handle
This doating old Tool.
Old Man. Hold, hold!
Do not scold.
With my Grandson go cooe. (He points to
the Youth
You love him I know.
Together go
cooe!
"Good Lad, prethee do.
"Tho
he's somewhat bashful, he'll quickly come to.
I'm not yet so old,
I long to be at her, to have
and to hold.
I'll wed thee, (To the Girl.
I'll bed thee,
I'll rouse thee,
I'll
touze thee,
I'll give thee what's better and
sweeter than Gold.
Girl. No, no, you're too old.
Old Man. Dear Girl, why so shy?
Girl. Old Man why
so bold?
Old Wom. Good Lad, how d'you do?
Boy. Ne're the better for You
Old Wom. Hold! Boy!
I am brisk yet.
And gayly can frisk it
I've
yet three good Teeth, and a Stump.
And see I can caper
and jump; (Jumps
Old Man Why thus do you shun her? What
makes you so bold?
(to the Boy.
Old Wom. Why
thus do you shun him? What makes you so bold?
(To the
Girl.
Boy and Girl. Indeed you're too old.
Old Man. I find 'tis in vain! (To the Old Woman.
Come, no longer let's strain.
Let the Young
take the Young, Let the Old take the Old.
We'll hug
our selves warm, now the Weather is cold.
(The Old Man goes and takes the Old Wom. by the hand, and she him, hugging one another. All the four repeat the last two Lines as a Chorus.
<NOTE: The next song follows immediately after this one>.
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First line: Come all [Let soft desires your heart engage]
Source Edition: The Island Princess; or, The Generous Portugese (1699), Epilogue (The Four Seasons; or, Love in every Age), p.45.
First Performed: beginning February 1699 (Danchin)
UMI(2) reel no.: 325:7
Author: Peter Anthony Motteux
Composer: 1. Set by Jeremiah Clarke but music not extant (?); 2. Richard Leveridge ( nwc); 3. William King ( nwc)
Performer/s: see below
Source/s of Music: Part of this song is recorded in Day and Murrie, p.276, n.1991 [Music] 1. Not extant; 2. Broadside (UMI(2) 1489:16); 3. Mercurius Musicus, January 1699, pp.6-7.
Text of song:
<NOTE: This song follows immediately after the previous one>.
Enter Cupid, who sings.
Come all, come all--- (Enter the Ages and
Seasons.
"Let soft Desires your Heart engage,
"'Tis sweet to Love in ev'ry Age.
"Ev'ry
Season, ev'ry Creature,
"Yeilds to Love, and
courts his Joys.
"None are Truer, none are Sweeter
"When Discretion guides the Choice.
"Cupid
with the Four Ages and the Four Seasons,
mingle in a
Dance while the following Grand Chorus is sung.
Grand Chorus of all the Voices and Instruments.
Hail,
Soul of Desire!
Hail, Guide of the Year!
All Ages you fire.
All Seasons you cheer.
Thus ever conspire,
And reign ev'ry where.
The four Parts of Music answerable to the four Ages of Life and Seasons of the Year, sing each the Line that's suitable to them.
"Love blooms in our Spring.
"In
our Summer it grows.
"In our Autumn 'tis ripe.
"In our Winter it glows.
Then all together.
Hail, God of Desire!
Hail, God of the Year!
All Ages you fire.
All Seasons you cheer.
Thus ever conspire,
And reign ev'ry where
<NOTE: Parts of this song should be excluded according to the stage direction. Both Leveridge and King have composed music for the excised lines 2-7>
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First line: Now to you ye dry wooers
Source Edition: The Island Princess (1699), Epilogue (song not printed in play).
First performed: beginning February 1699 (Danchin)
UMI(2) reel no.: Not applicable
Author: Peter Anthony Motteux
Composer: Jeremiah Clarke ( nwc)
Performer/s: Mrs. Lindsey, and "the Boy"
Source/s of Music: Recorded in Day and Murrie, p.301, n.2431. [Music] Henry Playford, Wit and Mirth...Volume Four, 1706, pp.140-1 (CT(1) 10355:17) and others.
Text of song:
Now to you ye dry wooers,
Old beaus and no doers.
So doughty so gouty,
So usless and touthless,
Your blindness, cold kindness
Has nothing of Man;
Still doating or gloating,
Still stumbling or fumbling,
Still hawking, still
baulking,
You flash in the Pan:
Unfit like
old brooms,
For sweeping our rooms,
You're
sunk and you're shrunk,
Then repent or look to't,
In vain you're so upish
You're down ev'ry
foot.
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First line: Come all with moving songs prepare
Source Edition: The Loves of Mars and Venus [part of The Anatomist] (1696), p.1.
First performed: 14 November 1696 (Danchin)
UMI(2) reel no.: 945:24
Author: Peter Anthony Motteux
Composer: Gottfried Finger ( nwc)
Performer/s: Mrs. Hudson
Source/s of Music: Recorded in Day and Murrie, p.196, n.593 [Music] Single Songs (1697), p.1 (UMI(2) 2432).
Text of song:
PROLOGUE, or Introduction. Set to Musick by Mr. Finger <...>
Erato. Come,
all, with moving Songs prepare
To Charm the Witty and
the Fair!
Ye Trumpets softly breathe, or cease!
Love may in Britain raise a War,
But 'twill
be sweeter far than Peace.
Chorus repeats the foregoing Stanza.
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First line: Love alone can here alarm us
Source Edition: The Loves of Mars and Venus [part of The Anatomist] (1696), pp.1-2.
First performed: 14 November 1696 (Danchin)
UMI(2) reel no.: 945:24
Author: Peter Anthony Motteux
Composer: Gottfried Finger ( nwc)
Performer/s: Mrs. Ayliff
Source/s of Music: Recorded in Day and Murrie, p.282, n.2090 [Music] Single Songs, p.2.
Text of song:
<NOTE: This song follows immediately after the previous one>.
One of Erato's Followers.
I.
Love alone can here alarm us,
And he only strikes to charm us.
Gazing, liking,
and admiring,
Firing, panting, and desiring,
Fearing, daring, trying, flying,
Feigning, pressing,
faint denying,
Still reviving, fierce Delights;
This is Love, and these his Fights. Ritornel of Flutes.
II.
Eager Kisses,
Fiery Glances,
Balmy Blisses,
Melting Trances,
Kind
Complying,
Kinder Dying,
Happy Days, and
happier Nights,
Still reviving fierce Delights,
This is Love, and these his Fights.
<NOTE: The next song follows immediately after this one>.
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First line: Love like War has noble cares
Source Edition: The Loves of Mars and Venus [part of The Anatomist] (1696), p.2.
First performed: 14 November 1696 (Danchin)
UMI(2) reel no.: 945:24
Author: Peter Anthony Motteux
Composer: Gottfried Finger ( nwc)
Source/s of Music: Recorded in Day and Murrie, p.283, n.2105 [Music] Single Songs, p.3.
Text of song:
<NOTE: This song follows immediately after the previous one>.
Ritornel of Violins.
Two others.
Love,
like War, has noble Cares:
War sheds Blood, and Love
sheds Tears.
War has Swords, and Love has Darts;
War takes Towns, and Love takes Hearts.
Love, like
War, the bold requires:
Love, like War, has Flames and
Fires.
Love, like War, does Art admit;
Love,
like War, for Youth is fit.
<NOTE: The next song follows immediately after this one>.
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First line: Scorn though beauty frowns to tremble
Source Edition: The Loves of Mars and Venus [part of The Anatomist] (1696), pp.2-3.
First performed: 14 November 1696 (Danchin)
UMI(2) reel no.: 945:24
Author: Peter Anthony Motteux
Composer: Gottfried Finger ( nwc)
Performer/s: Mrs. Hudson
Source/s of Music: Recorded in Day and Murrie, p.326, n.2858 [Music] Single Songs, p.4.
Text of song:
<NOTE: This song follows immediately after the previous one>.
Ritornel of Violins.
<I.>
Erato. Scorn, tho Beauty frowns, to tremble.
Lovers, boldly urge your Flame:
For a Woman will dissemble,
Loves the Joy, but hates the Name:
Her refusing,
your pursuing
Yeild alike a pleasing pain,
Ever curing and renewing,
Soon appeas'd, to rage
again.
II.
'If the Soldier
storms and rages,
'Face him with a lovely Maid:
'This his Fury soon assuages,
'And the Devil
soon is laid.
'He ne're conquers but by Toyling,
'But the Fair subdues with Ease:
'Blood he
sheds with hatred boyling,
'But the Fair can kill
and please.
<NOTE: The next song follows immediately after this one>.
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First line: To double the sports to Thalia belongs
Source Edition: The Loves of Mars and Venus [part of The Anatomist] (1696), p.3.
First performed: 14 November 1696 (Danchin)
UMI(2) reel no.: 945:24
Author: Peter Anthony Motteux
Composer: Gottfried Finger ( nwc)
Performer/s: Mrs. Ayliff
Source/s of Music: Recorded in Day and Murrie, p.358, n.3419 [Music] Single Songs, p.5.
Text of song:
<NOTE: This song follows immediately after the previous one>.
Ritornel of Violins.
Thalia.
To double the Sports to Thalia belongs;
I'll joyn
Comic Scenes to your Amorous Songs:
To heighten Life's
Pleasures, to soften its Cares,
No Charm like a Farce,
no Physicians like Play'rs <Plays>.
<NOTE: In the score the final word is"Plays" which appears more accurate in context. The next song follows immediately after this one>.
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First line: To treble the pleasures [With regular measures]
Source Edition: The Loves of Mars and Venus [part of The Anatomist] (1696), pp.3-4.
First performed: 14 November 1696 (Danchin)
UMI(2) reel no.: 945:24
Author: Peter Anthony Motteux
Composer: Gottfried Finger ( nwc)
Performer/s: Mrs. Ayliff
Source of Music: Recorded in Day and Murrie, p.359, n.3446 [Music] Single Songs, pp.5-6.
Text of song:
<NOTE: This song follows immediately after the previous one>.
Ritornel.
Terpsichore.
To treble the Pleasures,
With regular Measures,
My Train shall advance:
Some joyn in a Chorus;
While, gayly before us,
Some joyn in a Dance.
Ritornel.
Grand Chorus. Let Scenes of
Mirth and Love,
With Songs and Dances joyning,
The fleeting hours improve,
And banish dull repining.
He who those Joys refuses,
When kindly they invite,
The End of Living loses;
Life's business is
Delight. Exeunt.
<NOTE: The next song follows immediately after this one>.
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First line: To meet her Mars the queen of love
Source Edition: The Loves of Mars and Venus [part of The Anatomist] (1696), p.5.
First performed: 14 November 1696 (Danchin)
UMI(2) reel no.: 945:24
Author: Peter Anthony Motteux
Composer: John Eccles ( nwc)
Performer/s: Mrs. Hudson (and others).
Source/s of Music: Recorded in Day and Murrie, p.358, n.3431 [Music] Single Songs, p.6.
Text of song:
Set to Musick by Mr. John Eccles <...>
To meet her Mars, the Queen of Love
Comes here
adorn'd with all her Charms
The Warrior best the
Fair can move;
And crowns his Toyls in Beauty's Arms.
<NOTE: The next song follows immediately after this one>.
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First line: Say ye graces am I now [Fit to make immortals bow]
Source Edition: The Loves of Mars and Venus [part of The Anatomist] (1696), pp.5-6.
First performed: 14 November 1696 (Danchin)
UMI(2) reel no.: 945:24
Author: Peter Anthony Motteux
Source/s of Music: Not recorded in Day and Murrie
Text of song:
<NOTE: This song follws immediately after the previous one>.
Symphony of Flutes.
Enter Venus improving her Dress; attended by Hora, the Graces, and others.
Say, ye Graces, am I now
Fit to make Immortals
bow?
Are my Dress, my Face, and Air
Fit to
charm the God of War?
Say, ye Graces, am I now
Fit to make Immortals bow?
Hora. You've
been scarce five hours a dressing;
Yet you're charming
past expressing.
Venus. Let me see once more the Glass!
So!---I fancy it may pass.
She looks a while in the Glass while a Ritornel is plaid.
Euphrosine
and Aglaia. 'Women seldom like their Faces,
'Tho
they long consult the Glass;
'But, if you dare trust
the Graces,
'You now ev'n your self surpass.
'And when Beauty's self engages,
'Arm'd
with such a Dress and Air,
'She may conquer rigid
Sages,
'And ev'n the rough God of War.
Venus. How slow the Warlike God I find!
On Love's
expanded Wings expecting Lovers move
But slow as palsied
age expected Lovers prove;
Love flags, and leaves the
heavy mass behind.
<NOTE: It is difficult to determine if this is one song or several, if sung at all (none of the above is set to music). Next song follows immediately after this one>.
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First line: Fly ye [lazy] hours haste bring him here
Source Edition: The Loves of Mars and Venus [part of The Anatomist] (1696), p.6.
First performed: 14 November 1696 (Danchin)
UMI(2) reel no.: 945:24
Author: Peter Anthony Motteux
Composer: John Eccles ( nwc)
Performer/s: Mrs. Bracegirdle and Mr. Morgan
Source/s of Music: Recorded in Day and Murrie, p.221, n.1031 [Music] Single Songs, p.7.
Text of song:
<NOTE: This song follows immediately after the previous one>.
Venus. Fly, ye
hours; haste, bring him here
Swift as my fond Wishes
are!
When we love, and love to rage,
Ev'ry
Moment is an Age.
Enter Cupid, to the same Tune, and smiling.
<Cupid.> But when blest
with what we love,
Ages but a Moment prove.
<NOTE: Next song follows immediately after this one>.
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First line: Beauty's goddess cease to mourn
Source Edition: The Loves of Mars and Venus [part of The Anatomist] (1696), p.6.
First performed: 14 November 1696 (Danchin)
UMI(2) reel no.: 945:24
Author: Peter Anthony Motteux
Composer: John Eccles ( nwc)
Source/s of Music: Recorded in Day and Murrie, p.181, n.332 [Music] Single Songs, pp.7-8.
Text of song:
<NOTE: This song follows immediately after the previous one>.
<Cupid.>
Beauty's Goddess, cease to mourn:
Soon to your Arms,
From War's Alarms,
Your Lover will return:
Your Grief will then be lost in Kisses,
Melting
Blisses,
You will gaze and laugh and toy:
As gloomy night
Adds Charms to Light,
So
Absence to our Joy. Ritorne.
<NOTE: Next song follows immediately after this one>.
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First line: Will my soldier then be here
Source Edition: The Loves of Mars and Venus [part of The Anatomist] (1696), p.7.
First performed: 14 November 1696 (Danchin)
UMI(2) reel no.: 945:24
Author: Peter Anthony Motteux
Source/s of Music: Not recorded in Day and Murrie
Text of song:
<NOTE: This song follows immediately after the previous one>.
Venus. Will my Soldier then be here?
Where was he? come, tell, my Dear? Chucks Cupid under the Chin.
Cupid. The rough Warrior rov'd a while
In the
lovely British Isle.
Had not I his Flame renew'd,
He cou'd scarce have now been here;
For such
Beauties there I view'd,
As might ev'n with You
compare.
Venus. Tell me, gentle Cupid, how
In that Isle I'm worshipp'd now?
<NOTE: Next song follows immediately after this one>.
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First line: There the kindest husbands are
Source Edition: The Loves of Mars and Venus [part of The Anatomist] (1696), p.7.
First performed: 14 November 1696 (Danchin)
UMI(2) reel no.: 945:24
Author: Peter Anthony Motteux
Composer: John Eccles ( nwc)
Source of Music: Recorded in Day and Murrie, p.346, n.3223 [Music] Single Songs, pp.8-9.
Text of song:
<NOTE: This song follows immediately after the previous one>.
Cupid.
There the kindest Husbands are,
And the kindest-hearted
Fair.
Each in Hymen's Bonds is free;
And, when Wives with Lovers go,
Cuckolds, not to disagree,
Thank the Men who make 'em so. Ritornel.
Others,
fond of roving Lives,
Love all Women but their Wives.
Painted Beauties there abound;
Nay, some Men are
painted too:
Crouds are in all Temples found,
But come most to worship You.
<NOTE: Next song follows immediately after this one>.
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First line: Happy isle and happier far
Source Edition: The Loves of Mars and Venus [part of The Anatomist] (1696), pp.7-8.
First performed: 14 November 1696 (Danchin)
UMI(2) reel no.: 945:24
Author: Peter Anthony Motteux
Source/s of Music: Not recorded in Day and Murrie
Text of song:
<NOTE: This song follows immediately after the previous one>.
Venus. Happy Isle! and happier far,
If thou knew'st no other War!
Venus's Attendants repeat this Distich
Happy Isle! and
happier far
If thou knew'st no other War!
A March to a rough wild Tune. Enter Vulcan with Brontes, Steropes, Arges, Pyrachmon, and other Cyclopes. Vulcan looks about with his Spectacles.
Vulcan. Where's my damn'd
Wife? hoh! here she stands!
Methinks she's plaguy
fine to day!
And this in spight of my Commands:
There's something in't; she looks too gay.
Cupid. the grumbling Husband here?
Love no longer then
can stay. [Exit Cupid with his Followers.
Euphrosyne.
When the jealous Coxcomb's near,
All the Graces must
away. [Exeunt the three Graces.
Hora. Now an hour will
seem a day. [Manent Horae.
<NOTE: It is difficult to determine whether this forms one or several songs, if at all (none of it is set to music). Next song follows immediately after this>.
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First line: Thou plague of my life [Thou devil thou wife]
Source Edition: The Loves of Mars and Venus [part of The Anatomist] (1696), pp.8-9.
First performed: 14 November 1696 (Danchin)
UMI(2) reel no.: 945:24
Author: Peter Anthony Motteux
Composer: John Eccles ( nwc)
Source of Music: Recorded in Day and Murrie, p.351, n.3301 [Music] Single Songs, pp.9-12.
Text of song:
<NOTE: This song follows immediately after the previous one>.
Vulcan.
Thou Plague of my Life,
Thou Devil, thou Wife!
Come, tell me, why did you
Dress so like a Crack?
you know I forbad you.
Why d'you Patch thus and prink?
What, you're Painted I think!
Why this Head
six foot high?
'SBlood and Fire, who am I?
Venus. My Fool; for what else can that Property be
That's ugly, and old, and ill-natur'd, like Thee?
I'll dress when I please, nay I'll Cuckold Thee too:
What else have young Wives with such Husbands to do?
Vulcan. If ever you dare,
I'll make the
World know what a Strumpet you are.
Venus. Nay, what
do I care?
You'll make the World know what a Cuckold
you are.
Both at the same time in a scolding manner.
Vulcan. I'll make the World know what a Strumpet you
are.
Venus. You'll make the World know what a Cuckold
you are. Ritornel.
Vulcan. Join, and curse the
Tye with me,
That confines us to one Bed!
Venus. Thus at least we'll once agree;
Curs'd
be he that made us wed!
[Vulcan repeats that Verse three times with Venus.
Enter some Cyclopes and their Wives, at the noise of Vulcan and Venus's quarrelling.
Chorus of all. Join, and curse the Tye with me
That confines us to one Bed!
Thus alone you can agree,
Curst be he, curst be he, curst be he that made you wed.
[Some of the Cyclopes and their Wives dance, while the others
are singing; and in the Dance they frown, jolt, and threaten each
other, wring their hands, and kick backwards, and the Women make
Horns at the Men.
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First line: Halt none but Gallus further comes
Source Edition: The Loves of Mars and Venus [part of The Anatomist] (1696), pp.10-1.
First performed: 14 November 1696 (Danchin)
UMI(2) reel no.: 945:24
Author: Peter Anthony Motteux
Source of Music: Not recorded in Day and Murrie
Text of song:
A March, with Trumpets and Kettledrums, and then with Hautbois, alternate. Enter Mars, followed by Gallus, Fear, Anger, Noise, and a Body of Souldiers marching.
Mars. Halt!
Fear. ---Halt!
Noise. ---Halt!
Mars.
---None but Gallus further comes.
Now face about. [They
all face about, except Gallus.
Sound, beat
A Retreat,
Ye Trumpets, and ye Drums.
March
all to Quarters; March, and there remain,
Till my Command
renews the rough Campaign.
They all march out in Military order, except Mars and Gallus, who stay. The Drums, Trumpets and Hautbois continue the March alternate, till they are all gone.
Mars. Thou watchful Sentinel of Love,
Gallus,
my trusty Spy,
By whom secure in am'rous Wars I move,
And all surprizing Foes defy,
Procure thy Master
new Delight;
Go, bring my Goddess to my sight! Gallus,
looking sneekingly.
<Gallus.> What
if the limping Cuckold's nigh?
I may be bang'd,
And may be hang'd,
And then, god b'y',
Gallus your trusty Spy!
Mars. No more: I
on thy Vigilance rely.
Gallus. I shall be kill'd.
Mars, offering to draw his Sword.
<Mars.>
---By me.
Gallus. ---Hold, hold, I fly. Gallus exit running.
<NOTE: I am unsure what, if any, of this constitutes a song. Next song follows immediately after this one>.
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First line: Oh rival you must happy be
Source Edition: The Loves of Mars and Venus [part of The Anatomist] (1696), pp.11-2.
First performed: 14 November 1696 (Danchin)
UMI(2) reel no.: 945:24
Author: Peter Anthony Motteux
Source of Music: Not recorded in Day and Murrie
Text of song:
<NOTE: This song follows immediately after the previous one>.
Symphony.
Mars.
Oh! Rival! you must happy be;
You ev'ry day my Goddess
see.
Perhaps in vain you sigh and sue;
But
you, at least, my Goddess view.
For such a dear
bewitching sight,
Who would not gaze away the Light?
Oh! tho I see her ev'ry where,
I too too little
see the Fair.
In vain to shun her sight I strove:
Here, in my Heart 'tis fixt by Love.
None can
the Charming Image blot,
I see her, when I see her not.
And who can from her Chains be free'd?
She looks; and Gods themselves adore.
She smiles; then
I'm a God indeed.
She's in my Arms, Oh then I'm
more!
<NOTE: The next song follows immediately after this one>.
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First line: My Mars O my Mars my dearest love
Source Edition: The Loves of Mars and Venus [part of The Anatomist] (1696), pp.11-2.
First performed: 14 November 1696 (Danchin)
UMI(2) reel no.: 945:24
Author: Peter Anthony Motteux
Composer: John Eccles (Part One-- nwc; Part Two-- nwc)
Source of Music: Parts of the song recorded in Day and Murrie, p.292, n.2266 [Music] Single Songs, pp.13-5.
Text of song:
<NOTE: This song follows immediately after the previous one>.
Enter Venus follow'd by Cupid and his Train, and Gallus after them. Venus running into Mars' Arms.
<Venus.>
My Mars!
Mars. ---My Venus!
Mars and Venus.
---Oh!
Mars. My Life!
Venus. ---My Soul,
my dearest Mars!
Mars. ---My dearest Venus! oh!
'Now let the World a Truce from Wars & Tumults know
'While Mars is here, 'tis Peace below.
'O
Absence, now I see
'Unjustly we complain of Thee;
'Without Thy Pow'r cou'd I have hop'd to find?
'Even Beauty's Queen so charming and so kind.
Venus. My Life!
Mars. ---My Soul!
Venus. ---My dearest Mars!
Mars. ---My dearest Venus!
Venus. ---Oh!
Cupid, while dumb Courtship passes
between Mars & Venus.
<Cupid.>
Come, you Loves, clap ev'ry Wing;
Io Triumph! dance
and sing! Cupid's Followers dance.
'Come, you
Loves, clap ev'ry Wing;
'Io Triumph! dance and
sing!
<NOTE: Only parts of this song are set to music. The next song follows immediately after this one>.
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First line: How sweet how pleasing [lovely] when return'd
Source Edition: The Loves of Mars and Venus [part of The Anatomist] (1696), p.13.
First performed: 14 November 1696 (Danchin)
UMI(2) reel no.: 945:24
Author: Peter Anthony Motteux
Composer: John Eccles ( nwc)
Source/s of Music: Recorded in Day and Murrie, p.246, n.1463 [Music] Single Songs, pp.15-7.
Text of song:
<NOTE: This song follows immediately after the previous one>.
Mars
and Venus. How sweet, how pleasing, when return'd,
The lovely Object whom we mourn'd!
Recruited Fires
more fiercely warm,
And Absence heightens ev'ry Charm.
The Blessing that a while was lost,
When 'tis
regain'd is valu'd most.
'How sweet, how pleasing,
when return'd,
'The lovely Object whom we mourn'd!
Venus. My Life!
Mars. ---My Soul!
Venus.
---My dearest Mars!
Mars. ---My dearest Venus!
Venus. ---Oh!
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First line: Hold let the god of anvils know
Source Edition: The Loves of Mars and Venus [part of The Anatomist] (1696), pp.14-8.
First performed: 14 November 1696 (Danchin)
UMI(2) reel no.: 945:24
Author: Peter Anthony Motteux
Source/s of Music: Not recorded in Day and Murrie
Text of song:
<NOTE: This follows immediately after the last song. It is difficult to determine how much of the following is sung (none of it is set to music) and/or if it forms more than one song>.
Vulcan. So! so!
[He offers to knock 'em down with his Hammer, but is hinder'd by Gallus.
Gallus. Hold; Let the God of Anvils know,
My
Master's Arms must be just so.
[While he sings the
last Verse, he puts his Arms about Vulcan's Neek, and then about
his Body and Thighs, making motions to show him how a Coat of Armor
should be made to fit Mars.
Vulcan. You sawcy
Vatlet, I say no.
Come, Bully Mars, let go, let go!
Your Arms must be just so, just so.
[While he sings
this, he takes Mars by the Arms, and lays 'em along his sides.
Gallus. Hold, fiery Smith, I mean those Arms
Which you must frame for War's Alarms:
Those Arms
must o're his Shoulders close just so,
As he now
did to Venus show,
Only that she might let you know.
He's somewhat rough, she somewhat tender,
His
leaning on her might offend her;
So she cry'd, Oh!
That's all.
Vulcan. ---Oh ho! is it so?
Gallus. Now since you're come, if you're at Leisure,
An't please your Godship, take his Measure. Ritornel.
Mars. Here Vulcan, Arm me, Cap-a-pie!
And let
my Shield impenetrable be.
Let future Heroes there appear;
Place Greece's, Rome's, and brave Britain's there.
Let Alexander, Csar, Arthur meet,
And all their Lawrels lay at greater William's Feet.
'William, more God like, and as brave,
'Shall
only fight th'endanger'd World to save:
'William,
my other self shall be;
'Inspir'd by Themis, and
by me.
'Immur'd in Steel now Warriors
safely fight;
'But Balls unseen with rapid Flight
'One day shall deal Destruction through the Field:
'William, with Brest unarm'd, shall face those fiery
Foes;
'And Mars must kindly interpose,
'His
Representative to shield.
Here, Vulcan, Arm me
Cap-a-pie!
And let my Shield impenetrable be.
Gallus. But good your Godship, know,
His Arms must be
just so, just so.
Vulcan, hindering Venus from holding Mars; who, while Gallus sings, talk's to her, making signs as if he gave her Directions about the Armor.
'Hold,
I don't like my Wife should feel
'This ample Back
of Brawn like Steel.
Come, Mistress, pray, what Business
had you here?
Venus faultring. I only---came---to---take---the
Air, my Dear.
Vulcan. You rather came to Arm my Head,
I fear. Venus wheadling.
<Venus.> Go, now
I hate you, now go to!
And cou'd you, cou'd you
think I'd do
As I in jest did threaten you?
Go, now I hate you, now, go to.
Dull Fool! had
I design'd to try,
Wou'd I have told you so before?
Besides, you see my Son was by.
Vulcan.
Your Son's a Pimp, and you---
Venus. ---No more.
Vulcan. 'Why, sure some Fiend must have possest you!
''Tis but a Month since I caress'd you.
Venus. 'Ungrateful Dear! cou'd you believe
'I
wou'd my self and you deceive?
'What with that
Fore-head can compare?
'Can any one read Cuckold there?
'That Leer! that Hip, that Heel and Toe!
'What
tho' you're old? most Beaux are so.
Vulcan. 'Nay,
when I'm smugg'd up, I'm so comely,
'I
know you cannot think me homely.
Mars. Come, for her
Pardon humbly sue!
Tho' she were not so true,
She's still too good for you.
Come; for her
Pardon humbly sue!
Vulcan. What shall I do?
I fear this Mars, and love and fear her too.
Mars. Come,
for her Pardon humbly sue.
Vulcan. It must be so, My
Deary, Deary!
My Love! my Soul!
Venus. ---My
hate, my Fool!
Vulcan. Pray, Chuck, don't frown,
let me come near you!
Come, 'tis a Folly to repine,
You've had your Jest, pray pardon mine.
Venus.
First ask his Pardon as you ought.
Vulcan to Mars. You
hear her, pray good Mars forgive my Fault.
Mars. Well,
for her sake, no more of this be thought.
Vulcan. 'Now,
Dear, a Kiss in sign of Grace!
Venus. 'Not till you've
got you a new Face.
Vulcan. 'Come, Buss'e; come,
it must be so!
Venus after he had kiss'd her. 'Pish,
you're so troublesom! Now go.
Gallus. 'Shou'd
he not beg my Pardon too?
Mars. 'Ah! how sweet is
Reconciling,
'When a loving Pair is smiling,
'Free from Spleen or jealous doubt!
'O that
we cou'd still be smiling,
'still thus kindly
reconciling,
'And yet never falling out!
Vulcan. Now all is well, my Cyclops shall advance
With
their newest Anvil-Dance. Vulcan exit.
Mars. 'Let's
a while renew our Blisses
'In a sweet exchange of
Kisses:
'Thus the Lover comes in Play,
'When
the Husband is away.
Venus. 'But alas he will
not stay!
'Soon be gone; but soon retnrn.
'Soon?
no, I a whole tedious hour must mourn!
'I a whole
tedious hour must be
'Depriv'd of Heav'n,
depriv'd of Thee.
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First line: Come away strike and sing
Source Edition: The Loves of Mars and Venus [part of The Anatomist] (1696), pp.18-9.
First performed: 14 November 1696 (Danchin)
UMI(2) reel no.: 945:24
Author: Peter Anthony Motteux
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Enter Vulcan, with several Singing and Dancing Cyclopes. They lay an Anvil en the middle of the Stage. Brontes, Arges, Steropes, and Pyrachmon, the four chief Cyclopes, Sing, while others Dance and strike on the Anvil.
Vulcan. Come, away; strike
and sing,
Ting, ting, ting, terry terre, terry ting,
&c.
Let us make the Caves ring,
Ting,
ting, ting, ting, ting, ting,
While we forge Thunder-Bolts
for Heav'n's King.
Ting, ting, ting.
Steropes holding a red hot Bolt.
<Steropes?>
This he'll fling,
Ting, ting, ting.
At
Cowards at Sieges, and Atheists at Pray'rs.
At a
Husband, who by his Wife's Chastity swears.
Chorus
of Cyclops. This he'll fling, ting, ting, ting.
<Steropes?>
At promising Courtiers, and Fools that believe 'em;
At poor Rogues that give Bribes, and rich Knaves that receive 'em,
This he'll fling, &c.
<Steropes?>
'At a Weather-Cock Priest who nere thinks as he teaches.
'At a Cit in his Buff with his Heart in his Breeches.
<Chorus> This he'll fling, &c.
<Steropes?> 'At Beaux who protest they of
Favours nere boast,
'Yet drink the Fair's Health
ev'ry Night with a Toast.
<Chorus> This
he'll fling, &c.
<Steropes?>
'At Masks, who at Fifty wou'd follow Love's Trade;
'At a Female of Twenty that swears she's a Maid.
<Chorus> This he'll fling, &c.
<Steropes?> At a Couple who swear that they never
repented;
At a Briton who says, he can long live contented.
<Chrous> This he'll fling, &c.
<Steropes?> At a Ninny who finds a Galant with
his Wife,
Then begs both their Pardons for making a Strife.
Vulcan. 'How! then I am fool'd I doubt?
Mars. 'No, he jests; come, still be smiling,
'Free
from Spleen, or jealous Doubt,
'Still be kindly reconciling,
'But be never falling out.
The Cyclopes with the rest joyn in a Chorus, and Dance, striking on their Anvil.
'Thus may your Joys for ever last,
'The
Charms of Peace best after Wars we taste.
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First line: My courage comes now Mars is gone
Source Edition: The Loves of Mars and Venus [part of The Anatomist] (1696), pp.20-1.
First performed: 14 November 1696 (Danchin)
UMI(2) reel no.: 945:24
Author: Peter Anthony Motteux
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Symphony. Enter Vulcan, and Jealousie behind him.
<Vulcan> My Courage comes, now Mars is gone.
I'll not be Bullied into Patience.
I shou'd
be jeer'd, shou'd he go on,
By Gods, and Godlins,
and all Nations.
No, I'll be bold, now Mars is gone.
How shall I use this Rampant Creature?
Jealousie imitating Eccho ---hate her.
<Vulcan> What if I valiantly shou'd beat her?
Jealousie like Eccho, ---beat her.
<Vulcan> But when she wheadles I believe her.
Jealousie like Eccho, ---leave her.
<Vulcan> Will she still Jilt my kind Endeavour?
Jealousie like Eccho, ---ever.
<Vulcan> How! Eccho! what am I? speak Eccho?
Jealousie like a Cuckoe, ---Cuckoe.
Symphony. Vulcan, thinking it to be the Cuckoe's Note.
<Vulcan>
Vile Bird, be curst for thy unwelcome Tongue!
Hence,
let the lustful Sparrow hatch thy Young,
And Cuckoe be
thy Name, and Cuckoe be thy Song!
Let Married Wretches
dread, yet share thy Name,
Their Wives the Guilt, yet
theirs the Shame,
Till Cuckoe spreads thro'all the
Universal Frame.
<NOTE: it is difficult to determine how much, if any, of this is sung. Next song follows immediately after this>.
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First line: See Vulcan Jealousie appears
Source Edition: The Loves of Mars and Venus [part of The Anatomist] (1696), p.21.
First performed: 14 November 1696 (Danchin)
UMI(2) reel no.: 945:24
Author: Peter Anthony Motteux
Composer: Gottfried Finger ( nwc)
Performer/s: Mrs. Hudson
Source/s of Music: Recorded in Day and Murrie, p.327, n.2885 [Music] Single Songs, pp.17-8.
Text of song:
<NOTE: This song follows immediately after the previous one>.
Symphony.
Jealousie.
See, Vulcan, Jealousie appears!
Tho' not to ease,
but raise thy Cares.
Still restless round the World I
run,
To rack the wretched Lover's Mind:
I watch and journey with the Sun,
To search for what
I dread to find.
Thence sliding on a Beam, my Eye
Saw Mars with Venus loosely toy.
<NOTE: Next song follows immediately after this one>.
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First line: Revenge me hell new pains invent
Source Edition: The Loves of Mars and Venus [part of The Anatomist] (1696), p.21.
First performed: 14 November 1696 (Danchin)
UMI(2) reel no.: 945:24
Author: Peter Anthony Motteux
Source/s of Music: Not recorded in Day and Murrie
Text of song:
<NOTE: This song follows immediately after the previous one>.
Vulcan. Revenge me Hell, new Pains
invent!
To plague 'em, all thy Racks I'll steal.
No, that's too mild a Punishment;
Let'em
both share the Hell, the greater Hell I feel.
<NOTE:
Next song follows immediately after this one>.
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First line: Yield my dear let full possessing
Source Edition: The Loves of Mars and Venus [part of The Anatomist] (1696), p.22.
First performed: 14 November 1696 (Danchin)
UMI(2) reel no.: 945:24
Author: Peter Anthony Motteux
Composer: Gottfried Finger ( nwc)
Performer/s: Mrs. Bracegirdle and Mr. Bowman
Source of Music: Recorded in Day and Murrie , p.2991, n.2247 and p.284, n.2121 [Music] Single Songs, pp.18- 20.
Text of song:
<NOTE: This song follows immediately after the previous one>.
Mars. Yeild, my Dear, let full possessing
Crown
my Love, and Charm my Sence.
Venus. No, I must oppose
your pressing
With as gallant a Defence.
Mars. When Love's Harvest shou'd be reaping,
Will you waste the Time in Doubt?
Venus. Ev'ry Town
that's worth the keeping,
Keeps a while th'Invader
out.
Cheap Embraces quickly cloy;
Easy Conquest
seems a Toy:
But denying,
Struggling, flying,
Wanton playing,
Wise delaying,
Raise
us to a Sence of Joy.
Mars and Venus. Love's a Hawk,
and stoops apace:
We all hurry
For the Quarry,
Tho' the Sport ends with the Chace.
<NOTE: Next song follows immediately after this one>.
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First line: Come child let us kiss hang dull silly wooing
Source Edition: The Loves of Mars and Venus [part of The Anatomist] (1696), p.22.
First performed: 14 November 1696 (Danchin)
UMI(2) reel no.: 945:24
Author: Peter Anthony Motteux
Source/s of Music: Not recorded in Day and Murrie
Text of song:
<NOTE: This song follows immediately after the previous one>.
Gallus to Euphrosyne. Come Child,
let us kiss, hang dull silly wooing,
'Tis time, like
our Betters, we two shou'd be doing.
Kind Fate still
assigns, as a Custom that's common,
To the Mistress,
the Master, the Man to the Woman.
<NOTE: The next song follows immediately after this one>.
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First line: Be still I hate your wanton play
Source Edition: The Loves of Mars and Venus [part of The Anatomist] (1696), p.23.
First performed: 14 November 1696 (Danchin)
UMI(2) reel no.: 945:24
Author: Peter Anthony Motteux
Source/s of Music: Not recorded in Day and Murrie
Text of song:
<NOTE: This song follows immediately after the previous one>.
Euphrosyne. Be still, I hate your
wanton Play,
Gallus. Yet on a wanton Mistress wait?
Euphrosyne. What others can be found of late?
If
now we cannot still obey,
See all, hear all, and nothing
say,
'Twere pity we shou'd serve the Great.
Gallus. What, wou'd you have me dully wooe?
I cannot flatter, cringe, and sue:
Yet if high Love must
pass between us,
Come, I'll be Mars, do you be Venus.
[Like a Soldier.]
Dear Madam, you're so damn'd
inviting,
Rot me, I love you more than Fighting.
There cannot be a better sport,
Than to besiege
so fine a Fort:
Your Eyes strange Execution do;
Yet I must dye, or conquer you.
Euphrosyne. Hold,
or my Hands will prove to you
Offensive, and Defensive
too.
Gallus. 'Tis vain, make what defence you please,
These two white Rising Tow'rs I'll seize.
Gal. Yield. [Struggles with her.]
Eu. ---No.
Gal ---I must storm then.
Eu. ---Do, do, I defie you.
Be quiet, nay don't you; I'll cry out.
Gal. ---I'll try you.
Eu. Do, do, I defie you; do,
no Body's by you,
Eu. Hold, hold!
Gal.
---I hold you.
Eu. ---Hold, hold, or I'll fly you.
Gal. I hold you.
Eu. ---I'll fly you.
Gall. ---Do, do, I defie you.
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First line: My wife and her bully are coming this way
Source Edition: The Loves of Mars and Venus [part of The Anatomist] (1696), p.24.
First performed: 14 November 1696 (Danchin)
UMI(2) reel no.: 945:24
Author: Peter Anthony Motteux
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Vulcan. My Wife and her Bully are coming this way;
Tho' kill them I cannot, expose 'em I may.
Since Chains of hot Lust, their dark Union have made,
In Fetters as subtle they'll here be betray'd. Ritornel.
Well, let ev'y Fumble,
Who like me will stumble,
Be soon made as humble
As I!
And may
his Wife fly him,
Or court others by him,
And Fate then deny him
To dye. [Exit.
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First line: How my passion is increas'd [With imperfect pleasure toying]
Source Edition: The Loves of Mars and Venus [part of The Anatomist] (1696), pp.24-6.
First performed: 14 November 1696 (Danchin)
UMI(2) reel no.: 945:24
Author: Peter Anthony Motteux
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Mars very Amourously.
How my Passion
is encreas'd
With imperfect Pleasure toying!
I'll no more starve at a Feast,
Nor enjoy without
enjoying.
Venus running into his Arms.
<Venus.> Ah! my Dear, my Soul, my all!
Thus for ever let me lye!
In thy Arms I ravish'd
fall,
Tranc'd in melting Joys I dye. [Mars and Venus
sit upon the Couch.
Mars. O bless me less! th'Almighty
Joy
'Will ev'n Divinity destroy!
'It
shakes and labours with the Bliss,
'And wastes, and
wastes with ev'ry stronger Kiss.
It Thunders, and at the same time, The Net spreads over 'em, The Scene opens and discovers in a Glory, Jupiter, Juno, and other Heavenly Deities. Wild Musick.
Mars, rous'd out of his Extasie, and finding himself caught.
'Hah! am I fall'n
from Heav'n to Hell?
'No, still 'tis Heav'n
bright Goddess where you dwell.
How! trapt in Chains!
Jove here! Curst Vulcan too!
Ye Gods, what Being ever
fell
So low, from high'r than you? [To Gallus.]
Dull Spye, by whose Neglect I'm caught,
'Turn
to a Bird, and by thy early Call,
('Lest secret Lovers
like me fall)
'Prevent the prying Sun, and thus attone
thy Fault.
Vulcan. 'Here for ever thus remain:
'Strong as Fate is Vulcan's Chain.
'Curs'd
be the Pair that brand my Front with Shame!
'Most
curst my Wife! Damn, all Adult'rers, Damn,
'May
my worst Fires boyl their Salacious-Blood,
'Corrode
their Flesh, dry up the tainted Flood;
Prey on their
Bones, their inmost Marrow fry,
Till they curse Heav'n,
like me, and vainly wish to dye!
Momus laughing
to Mars. Dear Bully, thou'rt fitted; long may you lye thus!
'Tis sweet to make Cuckolds; but why one of us?
What's cheaper than Women? Look, yonder appears
A
World of kind Wives, and of She-Volunteers!
Not one here
but wishes t'have been in your place:
Yet, Vulcan,
thou'rt wise thus to spread thy Disgrace:
Thus Jealousy's
cur'd, and Men gladly will know,
There are Cuckolds
above, as well as below.
Ha, ha, ha, ha, hah! as well
as below.
The Chorus, Repeat the last two Lines.
<NOTE: It is difficult to determine how much, if any, of this is a song. Next song follows immediately after this one>.
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First line: Thus all unequal unions break
Source Edition: The Loves of Mars and Venus [part of The Anatomist] (1696), p.26.
First performed: 14 November 1696 (Danchin)
UMI(2) reel no.: 945:24
Author: Peter Anthony Motteux
Composer: Gottfried Finger ( nwc)
Source/s of Music: Recorded in Day and Murrie, p.353, n.3348 [Music] Single Songs, pp.21-2.
Text of song:
Symphony. Enter Cupid with a Train of Cupids.
Cupid. Thus all unequal Unions
break.
Thus Hymen without Love is weak.
But
I'll exert my Pow'r anew,
Make Vulcan kind, and
Venus true.
Her Gratitude will soon Improve,
And Friendship shall resemble Love.
Where Hymen wove
unequal Tyes,
Love to no higher Pitch can Rise:
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First line: Compell'd by love and fate's resistless pow'r
Source Edition: The Loves of Mars and Venus [part of The Anatomist] (1696), p.26.
First performed: 14 November 1696 (Danchin)
UMI(2) reel no.: 945:24
Author: Peter Anthony Motteux
Source/s of Music: Not recorded in Day and Murrie
Text of song:
Venus. Compell'd by Love and Fate's resistless Pow'r,
We lov'd, we fail'd, your Pardon I implore.
Vulcan. Well, I'm a Fool! will you do so no more?
Venus, Mars, and Cupid. No more, no more, no more.
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First line: Rouse god of war to arms to arms
Source Edition: The Loves of Mars and Venus [part of The Anatomist] (1696), p.27.
First performed: 14 November 1696 (Danchin)
UMI(2) reel no.: 945:24
Author: Peter Anthony Motteux
Source/s of Music: Not recorded in Day and Murrie
Text of song:
A March with Trumpets and Kettle-Drums, &c.
Enter the Followers of Mars. [Immediately after the Warlike Musick, Flutes, and other soft Musick, are hear'd.]
<Warriors.> Rouse, God of War, to Arms, to
Arms!
Cupids. To Love, to Love, to Love's Alarms!
Warriors. To War, to War, to War's Alarms!
Cupids. Hark! Flutes are warbling Love!
Warrior. --Hark!
Trumpets answer War.
Mars. War, Battles, Conquests, Triumphs,
Glory, War,
None but he is worthy Love,
Whom
the Charms of Glory move
Cupid and Mars hand in hand.
None but he is worthy Love,
Whom the Charms of Glory move
Grand Chorus of all the Voices and Instruments.
Hail! Great Gods
of Love and War!
Thus the World's vast Empire share!
Cupids. Glory without Love is vain.
Warriors.
Without Glory Love's a Bane.
Cupids and Warriors.
None but he is worthy Love,
Whom the Charms of Glory
move.
<All.> Hail! Great Gods of Love and
War!
Thus the World's vast Empire share!
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First line: Still must I grieve for an ungrateful swain
Source Edition: The Loves of Mars and Venus [part of The Anatomist] (1696), song not printed in play.
First performed: 14 November 1696 (Danchin)
UMI(2) reel no.: 945:24
Author: Peter Anthony Motteux
Composer: Johann Wolfgang Franck ( nwc)
Performer/s: Mrs. Ayliff
Source/s of Music: Recorded in Day and Murrie, p.338, n.3072 [Music] Gentleman's Journal, January 1692/3, pp.169-71.
Text of song:
Still must I grieve for
an ungrateful Swain?
For ever, ever sigh in vain?
Those lingring, those eternal hours,
Which Time,
the Cure of common Pain,
Doth to his endless absence
Add Fuel to the Fire,
Which my poor heart, poor
heart devours.
Nature, like thee, all o're Im sad:
Thou too dost for an absent Lover mourn,
A sable
Veil, an universal Cloud;
Thy sullen Face with gloomy
Horrors shrowd:
But oh! thy cheering Sun will soon return;
Thou'rt only widow'd for a night,
That
the warm Beams of his reviving Love,
For a whole happy
day, may prove
More gently kind, more ravishing bright.
<NOTE: The score does not ascribe this song to the play. On what basis do D&M ascribe it?>
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